Acho Reviews (in English & Spanish)

[SenyorC]

Reecho SG03

Also available in Spanish on my blog here and on YouTube here.

The Reecho SG03 have been loaned to me by CqTek from hiendportable.com, allowing me to try them out and post this review. If you would like to see his review of them, please check it out here: Reecho SG-03 English Review - Hi End Portable

Intro…

A while back, a subscriber of Acho Reviews on YouTube asked me about the SG03 and if I could review them. I remembered seeing a review of them on hiendportable so I reached out to CqTek asking to borrow them and give them a listen.

His first reply was “Sure, I’ll send them you but I’m not sure they will be your flavour”. I guess he knows my tastes fairly well because he was totally correct, they are not a set of IEMs that I am overly delighted by.

However, that does not make them any less eligible for review, nor does it mean that, as they are not my cup of tea, that they won’t be perfect for others, so I’ll try and give my impressions on how I hear the Reecho SG03 without being pessimistic

Presentation…

As these were sent to me by CqTek, who probably has even more IEMs than me, it is understandable that he doesn’t keep the packing and accessories around for most of them. In this case, the Reecho were shipped to me in a transport case along with an aftermarket cable, therefore I cannot comment on presentation of the product.

Build and aesthetics…

The IEM shells are metal and on the large side, with a fair bit of weight that comes along with that combination. They are not the heaviest IEMs that I have had in my ears but they aren’t really a lightweight either.

The faceplate use a design that combines shapes and gives them a look that is different from the majority of IEMs on the market. Although the faceplate does use strange shapes and angles, the interior or the shell is smooth and well contoured. resulting in a farily comfortable set of IEMs to wear.

The also seem like a sturdy build, due to the full metal shells, but the edges of the faceplate are starting to show a little sign of wear in the paint. Of course, this is something that is not really fair in comparison to other IEMs I review as these have been used (not sure for how long) whereas the IEMs I usually review are new, with approximately a week of use, but I thought I would mention it anyway.

As I mentioned, the cable I received is not the stock cable, therefore it isn’t relevant to this review, however, I will say that it is the thickest IEM cable I have ever used. I think this cable is a perfect EDC carry for a prepper, as it can be used as a rope if necessary

Sound…

I already said in the intro that these IEMs are not for me, I am not going to go further into that as I think I have made my preferences clear in previous reviews, so I will just focus on the Reecho SG03 as I hear them.

In the subbass category, there is plenty. In fact, there is more than plenty. Using “Chameleon” which has become my default test track for subbass, the SG03 provide a wall of it. At a low listening level, the subbass is very present, give it some power and it just becomes a huge low end monster.

“Chameleon” is an exaggerated track, one that pushes the low end to an extreme, but even with tracks that are not quite as subbass focused, such as “No Sanctuary Here” by Marian Herzog feat Chris Jones, the low end is nothing short of brutal. The thing is, the SG03 actually manage to pull off this amount low end without it getting too out of control. I mean, there are times when “Chameleon” does sound dirty in the low end, or even “No Sanctuary Here” can feel a bit out of control when pushed, but the exaggerated bass doesn’t really have a negative affect on the remaining frequencies, or at least not to the extent that I would have expected.

Although this is a very V shaped tuning and there is certainly some bleed into the lower mids, this bleed is actually a lot less prominent than I would have thought by listening to the bass these IEMs put out. That is not to say that the transition from the bass to the mids is clean and articulate, but it is cleaner and more articulated than one would expect.

The mids are recessed in comparison to the lower registries. Depending on the choice of music, voices can go from being present enough to actually struggling, depending on the amount of bass and information happening in those lower registers. As an example, “Breezeblocks” by alt-J is acceptable while it is in a tranquil part of the track, but once the bass kicks in, the vocals disappear behind a mass of rumble.

As we move up towards the higher registers, there is presence in the 2kHz to 4kHz which manages to not be harsh but is also not quite enough to bring the presence of vocals back through the rumble. To be fair, they haven’t done a terrible job as I can understand that it is very difficult to make voices cut through the elevated bass rumble without them being overly harsh in quieter and more tamed passages.

That doesn’t mean that they sound great with vocals in simpler and quieter tracks, they still have a harshness to them that I am not fond of, but it is certainly not as bad as it would have been if they had continued to try and cut through.

In the higher regions, there isn’t a great sensation of air or extension. This is partly due to a roll off in the higher frequencies but also due to the tuning itself. I feel that the higher regions are similar to the higher mids in regards to having to counteract the bass without becoming unbearable in parts of tracks where there isn’t a huge amount of bass.

The soundstage is also not very large, although it doesn’t come across as claustrophobic, it just seems to hit a “do not pass” line off to the sides. For example, when listening to “Letter”, the pencil moves across the center but once off to the side, it seems to sit there for quite a long time. Saying this, the SG03 does manage to separate things fairly well inside the soundstage it has to work with. You can still pick out details in the higher mids and lower treble, even in the center of the mids to some extent, just don’t try to focus on bass details when there is a lot going on.

Conclusion…

I have said it already but I’ll repeat it, the SG03 are not for me. They don’t suit my tastes and don’t really make anything that I listen to sound better than I would expect. There have been a few moments of “wow” when listening to certain genres or tracks, like the first time I played “Chameleon” through them, but those weren’t really “wow, I’m impressed” moments, it was more “wow, that’s not what I expected” moments.

That doesn’t mean that they are bad IEMs, I am sure that there will be plenty of people who love these IEMs. Maybe for those who like to listen to deep throbbing Dubstep (which I do on occasions also) will find these perfect for their taste, they just don’t suit mine.

I don’t think I have mentioned the price yet, these sell for around 75€, which is not terribly expensive but is not ultra budget either. I suppose I would need to take into consideration whatever is included as far as accessories etc. before saying these are expensive, but based solely on how they sound, I feel they could be cheaper.

In fact, if these were a set of IEMs that fell into the ultra-budget category, like some of the offerings around 30€, then I would probably be interested in a set just to have in my collection of IEMs, as the bass really is… well… bassy. But as I wouldn’t use them regularly to listen to music, I wouldn’t pay the current price.

Again, this is all personal preference, as with all my reviews, they are personal opinions and are only relevant to my own taste in music and how it is reproduced. If you feel that these may suit your tastes, then give them a whirl!

[SenyorC]

NF Audio - NM2
this review is also available in Spanish on my blog here and on YouTube here

The NF Audio NM2 have been sent to me by KeepHifi in exchange for the publication of this review. They have not requested anything specific but I will include the (non-affiliate) link to the NM2 via their site as always on my blog and channel, as it is the least I can do.

As always, I will try to keep this review as sincere and unbiased as possible but it is always good that you consider the fact that these IEMs have not cost me anything.

Intro…

NF Audio is a brand that I have never tried before and to be honest, know very little about. I actually like it when I receive stuff that I know nothing about as I avoid some expectation biases and it is always fun to assign a price to something in my mind and then see how far I am from reality when I finally check the price. In this case, I was actually quite close with my guess which was fairly close to their retail price of just over 85€ (I actually guessed around 90 to 100).

Presentation…

The presentation for the NM2 was a little different to the usual packaging from other IEMs. They arrive in a fairly large box, which is actually a lot taller than I would expect and the box opens in two halves, top and bottom, or left and right (once open).

On the right side, at first I thought it was a CD that they had included, as there is a circular piece of cardboard covered foam that contains the IEMs and actually looks quite a bit like a CD. Under this disc, NF Audio include multiple sizes of two different types of tips, labelled as Balanced and Bass.

In the left half of the box, we find the user manual and under that we have a round transport case with the NF logo and the cable inside.

I would say that NF audio include the expected accessories with a set of IEMs at this price range and I don’t have any complaints about content or presentation. Yes, it could have been simpler, but the only thing that is really overdone is the size of the box, which at least makes it stand out from the norm.

Build and aesthetics…

When I first removed the IEMs from the packaging, I couldn’t believe how light they were. They also have an aesthetic to them that doesn’t really stand out as being high quality. I mean, in comparison to other sub 100€ IEMs, the IEM shells are rather simple transparent plastic that remind me quite a bit of the shells used on models like the TRN MT1 or the CCZ Melody.

This is only an aesthetic thing though, the actual shells seem to be very well built and do not show any signs of flaws that would hint at reduced durability. They are also, as I just said, extremely lightweight. That means that they are a great option for long sessions, if you find them comfortable.

I say “if you find them comfortable” as I am unlucky enough to not find them extremely comfortable. While there is nothing really strange about their shape, they are just the correct size to put pressure on the upper part of my ear, making me feel discomfort after longer sessions. They are not extremely uncomfortable, I can wear them, but they do tire my ears.

One other thing that stood out to me is the cable. It is a simple “twisted” cable that is rather thin but seems to be decent enough, very similar to a few other cables I have received recently. However, the memory wire is the springiest and snappies I have come across. It literally acts like a spring and clamps down behind the ear. This hasn’t caused me any discomfort but was certainly strange the first time I put them in. This cable will guarantee to not move while jogging, dancing or even sky diving!

I did actually choose to move on to an aftermarket cable and swap out tips, opting for using the Xelastec in order to improve comfort slightly and also, in my opinion, removes just a touch of top end (more on that in a moment).

Sound…

I must start off by saying that the sound also surprised me, as it wasn’t what I expected after unpacking them. I expected another run of the mill V shape with decent enough capabilities but nothing out of the ordinary in comparison to so many other sets.

However, what I was greeted with was a very clear, non bloated, detailed sound. I have since taken a look at the website for the NM2 and I see that they are marketed as being for monitoring. Although I haven’t been on a stage lately, I can actually see these working well as monitors, not only due to their sound but also due to the passive isolation they have (and of course the cable ear hooks which will keep them in place while headbanging!).

Starting off with the subbass, I find that there is a decent extension that is fairly well balanced with the rest of the bass frequencies. I would say that the NM2 manages to keep the presence of the low end without putting a specific focus on mid bass or subbass specifically.

These are not IEMs for those looking for a eardrum tickle but they do make sure that the lowest of notes are present and well defined.

In the midbass area, things remain rather similar. The bass does not take over the low end, nor is there any noticeable bleed into the lower mids, but it does give enough presence to bass guitars. I spent an afternoon listening to Dire Straits and I must say that the NM2 made it very easy to appreciate the work of John Illsley (the bassist, or that guy with the guitar missing a couple of strings as he is known by many) without him becoming the centre of attention and detracting from Knopler’s guitar playing or anything else. In fact, the song “Money For Nothing” from the live album “On The Night”, was presented in a wonderfully balanced way during the guitar solo, where the guitar was extremely enjoyable without overshadowing the bass at any moment.

But… this does not mean that they are light on bass or on subbass for that matter! When a track calls for it, there is plenty of bass on tap. I moved from listening to Dire Straits on to some Hip Hop (I forget exactly what, I think I was just on shuffle) and the bass hits completely surprised me, reminding me that the low end is there if the song needs it.

I also need to stress that the bass is clear and defined but will show any issues with recordings. In other words, if the track in question has too much bass, or bass that is not well recorded, the NM2 will not only not fix it, it will actually highlight the issues.

Moving into the mids, there is a bit of a dip in the centre of the region, however, as both the bass and the higher frequencies are well balanced, there is no sensation of this taking anything away from the performance.

The higher mids are rather present and, if these are going to have a negative reaction from anyone, it will probably be the high mids that are the culprit.

It is not that the high mids are bad, or extremely boosted, it is that they present the same issues as the bass frequencies. They are present in a way that balances them well with the lows, on a well recorded and mastered track. On a track that presents some harshness or excess in these frequencies, or even a lack in other frequencies, then the NM2 can once again highlight the problem.

This is a good thing, the fact that they are well balanced on good recordings, if you listen to good recordings of course. If the music you listen to is not so well recorded, or is overly sharp in the higher mids, then I think you will find that the NM2 are not really suited.

The higher frequencies are not the most extended but are good enough to not make me feel like there is anything missing in the higher range. They don’t have the top end sparkle and air that some other contenders do, but that is mainly due to their tuning and focus on the lows and higher mids.

As far as detail, I have already said that these are decently detailed IEMs. They do a good job of separating layers and instruments, allowing you to focus on details of different instruments and their playing, without difficulty.

The sound stage is not huge but is slightly above average, with the placement and use of the available space being good, allowing enough room for things to spread out. I have especially enjoyed some of the multi-mic’d (well recorded) live performances.

Conclusion…

When I opened the NM2, my mind automatically thought that it would be another run of the mill tuned economic IEM. I was surprised at what I actually heard when I started listening, as it certainly isn’t just another run of the mill tuning.

The tuning is far more balanced than I expected and it comes with very competent technical performance, along with a soundstage that is very acceptable. I can see that the NM2 would actually perform well as a monitor, but it is also capable of being a very enjoyable, not necessarily boring.

The shell design might not be the most exciting but its extreme lightweight makes it great for longer sessions. I do experience a little uncomfort over time due to fit being just that few mm off for my personal anatomy, however, that is something that is totally personal and if it is not the case with your own ears, then these would make great IEMs for long sessions and also while on the go, due to the decent isolation also.

All in all, I must say that the NM2 is a decent IEM for the price it sits at.

[SenyorC]

Reecho SG01

The Reecho SG01 have been kindly loaned to me by CqTek of hiendportable.com so I could test them out and create this review. Of course CqTek has not requested anything from me in exchange for sending these IEMs over but if you would like to see his review of these IEMs, you can find it here: Reecho SG-01 English Review - Hi End Portable

This means that my review will follow the usual rule of being as unbiased and sincere as possible but, as I always say, I have not actually spent any of my own hard earned cash to try out these IEMs, so you may want to keep that in mind.

Intro…

CqTek has actually sent me a few models of IEMs to try out, for which I am grateful as I hadn’t tried any of the models he sent me, or anything else from the brands.

The loan of these items started with a subscriber to Acho Reviews who commented that he would like to see me review the Reecho SG03. I remembered that hiendportable had published a review of them (although I couldn’t remember anything about them), so I reached out to CqTek who kindly agreed to send them to me (the SG03) and also included some more models at the same time, the Reecho SG01 being one of them.

I must say that I know absolutely nothing about these IEMs, so I did a bit of research before sitting down to write this review. From the brief search that I did, it seems that the SG01 are available for just over 40€ (at the time of my search) and features a single graphene 10mm dynamic driver.

Apart from that, I didn’t find much info, without reading reviews of course (which I always avoid doing when I plan on reviewing something myself). I do know that the review on hiendportable contains more details and information, so I suggest that you give it a visit to see more details.

Presentation…

As this set of IEMs was sent to me by someone who has the exact same issue as myself, too many IEMs which means too many boxes, which means too little space to store them all, he just sent me the IEMs in their travel case along with a cable that is not the original (without any tips or other accessories).

This means that I can’t comment on the presentation of these IEMs. I can say that the way the reached me, nicely coiled inside a semi-rigid transport case, is something i have absolutely no complaints about.

Build and aesthetics…

Again, as I just said, the included cable is not the original, therefore I can only comment on the build and aesthetics of the IEMs themselves (well, I can comment on the cable also, which is quite nice, but it is irrelevant to the product at hand).

As far as the IEMs, to be honest, it took me a while to decide if the shells were made from a lightweight alloy or plastic that has been painted to look like metal. In the end, I am 99% convinced that they are actually a lightweight metal in their totality.

This means that they are extremely lightweight and I also find them very comfortable. The size is rather and sits well inside me ear, being almost flush. Using silicone tips I found the seal to be very easy (I didn’t even try Xelastec or foam on these, which is usually a sign of immediate comfort for me) and different tips did do the usual change of sound but none of the ones I tried sounded awful.

As far as aesthetics, they remind me of something that I would associate with Fiio, with the wavy face plates. I don’t mind this look to be honest, it is something that breaks from the normal smooth finish but is not too over the top.

As far as build quality, I don’t know how old these IEMs are or how they have been treated (although I know that CqTek treats his stuff very well) but they aren’t showing any signs of wear or damage, which is always positive.

Sound…

There are times when specific IEMs or headphones inspire me to listen to certain genres of music, although the day and my mood also play a big part. In the case of the SG01, they were the IEMs I picked up to go back to work on the 3rd of January, without listening to them previously. Upon sitting down at my desk to start making my way through the hundreds of backlogged emails, I connected them to the Atom and started listening. After about 10 minutes, the SG01 just kept making me feel like listening to female pop.

Who am I to disagree with my subconscious? So the first 5 or 6 hours of my work in 2022 was spent listening to people like Alicia Keys, Destiny’s Child, Macy Gray and many other similar artists, which I feel that the SG01 did a very good job of presenting.

Not everything was perfect, I’ll mention more about the flaws, but I was happy with the tuning and quality of the music I was listening to, and that was before I knew the price of them. Now that I know that they cost 40€, I must say that I am impressed.

Anyhow, starting off with the subbass, there is a clear roll off as we reach down to the lowest notes, therefore these are not a set of IEMs that will appeal to those who want plenty of that low end rumble. The subbass is not totally absent, there is enough to appreciate that the music has information in the lowest registers but those looking to tickle their eardrums will need to look elsewhere.

In the mid/high bass rangers, I find that the presence is a little north of neutral for my preference. However, although there is a little too much presence in this area, the SG01 does still manage to be smooth and it is only on occasions when this extra bass is noticeable. For example, the start of “No One” by Alicia Keys comes across as slightly too much and can seem as though it is about to distort.

The transition from the bass to the mids also suffers due to this extra presence of mid-bass and lower mids, with the bass clearly bleeding into the mids on tracks that are a little busy in those areas. Listening to simple acoustic and vocal music, this muddyness is not overly apparent but when moving onto tracks that are a little busier in those regions, it does become a little overpowering. The sensation is very similar to when you are in a venue listening to live music and you end up standing in just the wrong spot for those 300Hz notes. The difference is that in a live venue you can take a few steps sideways and resolve the issue, whereas with the SG01, you can’t fix it that way.

The mids themselves are pretty smooth also, with no real issues until we get to the highest of the mids, the 2kHz to 3kHz mark. Around this area I find that the SG01 are tuned very similar to the Yuan Li that I like so much, however, the SG01 increase this area more than the Yuan Li, and this can present some sensation of harshness depending on the song. This increase works well to bring back presence to the vocals, and on voices that are not harsh in those 3kHz frequencies, it works very well and gives a nice clarity to the voices. However, when coming across a voice that is overly hot in the 3kHz range, the SG01 make it become rather harsh on the notes that are centered around those regions. It is a shame because this is something that attracts far more attention from me than if the peak was somewhere else. There are occasions when the harshness appears out of nowhere and draws attention to itself, only to disappear again when the damage is already done (in other words, when it has already drawn my attention to it).

Moving into the higher frequencies, I find them to be rather smooth and fairly airy for a single driver. There is a decent extension in the top end but it is not boosted, meaning that it keeps the smoothness that I find constant in these IEMs except for when the 300Hz or 3kHz issue arises. I don’t find these IEMs sibilant, at least on tracks that are not overly sibilant themselves. For example, “Code Cool” is quite listenable on these IEMs, which is a good guide line.

As far as stage width, I find that the SG01 is actually larger than the average I have come to expect from IEMs. There is a decent amount of space which, partnered with that smooth and extended treble, gives room for the music to breath and for there to be space between instruments. I wouldn’t say that these SG01 are the most detailed IEMs I have heard, nor that they are amazing at placing those details with millimetric accuracy, but they are not something that I could really complain about, there are far worse IEMs out there in this regard (some at much higher price marks).

Conclusion…

The SG01 is very close to hitting my preferred tuning for IEMs, if only those boosts around 300Hz and 3kHz were resolved. They don’t need to be eliminated, not at all, they just need to be reduce slightly. In fact, if those two areas (say 100Hz to 300Hz and 2kHz to 4kHz) were reduce slightly, the SG01 would be almost identical to the Yuan Li at less than half the price.

As it stands, those peaks don’t actually affect all the music, I can spend hours listening to certain artists and genres without any negative effects, but then with another artist of genre, the peaks will suddenly become noticeable, at least to me. I guess it is also due to the fact that the 100Hz to 300Hz is a frequency range that I focus on a lot due to being a bassist and the 2kHz to 4kHz range is something I focus on a lot due to my preference for vocal orientated music. This means that these two peaks probably stand out to me more than they would other people.

Honestly, other than that, I have no issues with the SG01 at all. I find them comfortable, they seem well built, the tuning is aimed towards my preferences, they don’t suffer from the single DD drop off in the higher registers… in general they are a decent set of IEMs for around 40€.

I am not going to rush out and purchase a set but I am glad to have been able to try them out and will certainly take more notice of Reecho as a brand.

This review is also available in Spanish on my blog here and on YouTube here.

[SenyorC]

The iFi Audio Go Blu was sent to me by the seller in exchange for money. The seller did not ask for anything other than payment, therefore, although I will do my best to be unbiased and sincere as always, you may want to consider that this product didn’t cost me any less than it will you.

Intro…

The title of this review on YouTube, in Spanish, is “ok, they were right”. This title is actually a response to all of those that have been praising this little iFi device for quite some time. I suppose the title could also reflect some of the negatives of the device pointed out by others as well. This device is not perfect (what device is?), but I’ll get on to the good and bad parts in a second.

First I just wanted to state the obvious. The iFi Go Blu is not a product that I know nothing about, as is the case with quite a few of the things I review. I have been paying attention to the Go Blu since it was announced and have been procrastinating the purchase ever since.

My main reason for putting off the purchase was that, as I have said plenty of times in the past, I am not a huge user of Bluetooth. I do use Bluetooth, I have nothing against it, I just always prefer wires when possible and only choose BT for convenience. So, I kept telling myself that I would just send up putting the Blu in a drawer and not use it.

I did keep following the threads and discussions though, and finally decided that I had to give it a try. This means that I already knew the positives and negatives opinions of others and had a preconceived expectation when I received the device. Whether this has any influence on my opinions that I am about to post? Maybe. As I said, I always try to remain unbiased but I am only human

Anyway, less rambling and more reviewing!

Presentation…

As with all iFi products, the packaging is fairly simple but well done. There is nothing special about the presentation or packaging but it never feels like it has been thrown together.

Inside a simple white box with an image of the GB on the front, we receive the Go Blu, a USB to USB-C cable, a drawstring bag for transport, a simple instruction card and the usual warranty card.

Nothing extraordinary or unexpected (except maybe for the bag).

Build and aesthetics…

Both the build and the aesthetics are excellent in my opinion.

The device has an elegant look to it, while breaking away from the typical blackness that is commonly found on so many other devices. The copper coloured plate that decorates the front along with the matching volume wheel really makes this look like something special. If we took away those two elements it would just be another black plastic box but 2 simple touches make all the difference.

Although the device is plastic in its majority, it seems to be well built while staying very light. The wheels and buttons have a good feel to them and work without flaw, with no noticeable looseness or rattling.

All I can say is that the Go Blu looks and feels great.

Functionality…

Let me preface this by saying that as soon as I received the Go Blu, the first thing I did was upgrade to the latest firmware, currently v3.05 I believe, which has some features that may not be available on earlier firmware releases. As far as I am aware, there is no way to update this via windows, however, I do believe that it can now be updated via iOS (but don’t quote me on that as I don’t have an iOS device, I just seem to remember reading that it could now be done).

The Go Blu is a unit that is very simple to operate with one hand and the various buttons are well laid out for easy access. Looking at the front we have a single button on the left (centered) and a wheel with a push button center, along with another button just below it on the right hand side. On the top we have the 3.5mm SE and 4.4mm Balanced outputs, along with an indicator LED, with a USB-C connector in the bottom of the device and a charging indicator LED.

The single button on the left is for power. Holding it down for a couple of seconds turns the unit on and off. While powered on, pressing the power button twice will trigger the voice of a lovely British lady, who informs you of current codec and sample rate. The same lady informs you of the codec in use each time you connect to your device.

Three clicks of the button enters filter choice mode, which can be cycled through standard and minimum phase by pressing the right hand button of the device. These are identified by the colour of the led on the top of the device, green for standard and pink for minimum phase. Once selected, confirm choice by pressing the power button again, three times.

The dial on the right hand side of the unit is the volume wheel, with a center button for play/pause etc.

The wheel is very sturdy and has points that it clicks to. This volume wheel actually controls the Android volume (when connected to an Android device of course) but it does it in much smaller steps. For each increase by the androids slider (in the case of a phone), you get three clicks of the wheel. That makes finer adjustments easier and much more precise.

In the case of none Android devices, I am not actually sure how the volume control works. I have used it connected to my non-android DAP via USB, with the USB output set to “fixed”, and the Go Blu has controlled the volume fine without any changes reflecting on the DAP. I also found that when I used it via USB with my DAP and connected via BT to my phone, the volume level of the phone is controlled at the same time as the music playing. In other words, listening to music via USB, when I increase or lower the volume of the music, my phone also increases or decreases at the same time. So it is somehow controlling both volume levels together, even though the DAP is set to fixed. As I said, I have no idea.

The button that is in the center if the volume wheel uses a multiple click set up. One press plays or pauses the music, two clicks next track, three clicks previous track and long press for activating the assistant. I don’t know about other devices but these commands dont work when connected to my DAP via USB and when connected to my phone via USB (without BT), 2 clicks lowers volume and 3 clicks increases it. I also found that Android volume can react a little strangely when connected only via USB, something that works fine on windows and my DAPs.

The final button, on the right hand side below the volume wheel, is to turn XBass and XSpace on or off (along with the filter cycle like I just mentioned). From Off, one press will activate XBass (indicator LED turns yellow), another press activates XSpace (LED goes blue), one more press activates high (along with a white LED) and pressing once again will take us back to all off (including the LED).

That’s it. Rather simple but includes quite a few features and manages to do so without having to rely on 20 presses of a single button or an obligatory app (although you do need an app for the firmware upgrades).

My use case scenario…

While this is probably the least useful part of the review, as you are not me, I find that sharing my use case of the device and the pros and cons I have found may help someone who is looking at a similar scenario.

As I said earlier, I held off buying the Go Blu for so long because I didn’t think I would use it for what it is good at. I don’t hate Bluetooth, I use it in many circumstances, but I always find that, if I have a choice and it doesn’t hinder me, I would much rather hook up a cable. There are plenty of times when BT is more than good enough, most of my manual tasks are done while using a BT neckband and Spotify. I don’t need to search for perfection while I have my head in an engine or something. BT is good enough, especially now, that I am happy to use it to listen to music as BGM and am happy with the neckband set up.

As a USB DAC/Amp, I felt like there were better options out there (which there are) that are dedicated to that function, whereas the Go Blu is focused on BT with USB as a secondary thing.

Well, let me just say that the Go Blu is the first BT device that has actually attracted me to listen to music with it. For the first time, I have found myself choosing it over wired set ups even when spending extended periods at my desk.

During the past 2 weeks or so, I have found that I have been content with just using the Go Blu. It has even made me get lazy and not even bother turning on my main station when getting home, just crashing directly on the sofa with the Go Blu.

But not everything is perfect and I must mention the things that could be better when speaking about a product from a manufacturer with the pedigree of iFi (especially in the portable realm) and at a price of 200€ which is not exactly cheap for a small Bluetooth dongle when comparing to other contenders with far more options.

The first negative that I am going to mention is a clip. I don’t think the lack of clip bothers me as much as many others who have expressed their opinions in forums, but I do agree that some way of connecting this to your clothing would be a big benefit. The best part of BT is the lack of cables and if I am still running a cable from my head to my pocket, it doesn’t really matter what I connect it to in my pocket.

The next is the limitation of 24bit 96kHz. I really couldn’t care less about MQA or DSD, so then not being supported does not bother me at all. The 24/96 also is not a deal breaker but it would be nice for it to be supported when playing via USB, again, especially when the competition can do it, and cheaper.

The BT range is also not exactly the best. It will work ok with my phone on my desk if I enter the bathroom (about 5 meters away), but any more than that results in drops. This is something that is common with many LDAC devices, I have gotten used to it after using Shanling DAPs, but could be much better.

I will say that the quality of the microphone was a very pleasant surprise. I expected much worse quality and to have to hold the device to my mouth but, at least in my quiet office, I can make calls with the device on the desk with no complaints from anyone.

I am also very happy with the fact that I can use it via USB while still being connected to the telephone via BT. It would be nice to be able to pair it with multiple devices via BT but USB+BT works well for me personally. One thing to note though is that each time you unlock the screen of your phone, or use it in any other way, the music will pause.

That has actually been my main use for the Go Blu. I have had it connected either to my DAP or PC via USB, with my phone connected via BT. This allowed me to use the Go Blu for calls on both PC and the phone without any changing over. However, for some reason, I did find that certain apps (for example Zoom and Skype) needed me to manually set the Go Blu as the device in their app settings, the “use predetermined device” didn’t work.

Finally, before I move on to sound, I want to mention one thing that is probably the negative that most affects me. The background noise with sensitive IEMs. Ok, this is not present on the SE output, nor on less sensitive IEMs and headphones, but with the balanced output and sensitive headphones/IEMs, it is certainly noticeable to say the least.

This is not such a big issue for me as it would be on another device as I prefer the SE output (more about that under “sound” in just a moment) and when I am using something that really needs the balanced output, well they usually aren’t that sensitive for it to be an issue. I know that iFi sells the perfect solution to this, the IEM Match, but when purchasing one of the most expensive BT dongles (again, from a company with the pedigree of iFi), a gain setting would have been a very nice touch.

So, these are just my random musings after using the Go Blu (almost exclusively) for the past two weeks or so. Now, let’s get on with the sound.

Sound…

Where to start?

I have reviewed other iFi devices in the past and I have found that they have a bit of a colour to their sound that is representative of iFi. I might be crazy and I might be imagining it, but that is what my brain has told me I hear. A lot of that is supposedly due to the use of Burr Brown DAC chips, other things may be they way that iFi amplify the signal or even the parts involved, but ignoring the fact that maybe I am just making things up, I do feel that iFi really does have a “house sound” that is slightly warmer than other options.

In the case of the Go Blu, there is no Burr Brown chip and there is nowhere near as much room as in any of the other iFi products to use the same parts, so there is no reason for it to have that iFi warmth to it. But it does. At least to some extent and on the single ended output.

Ok, so I may have gone totally crazy and I may be hearing this just because I have read about som many other people hearing it, but I really do find (or at least my brain says it does) that the SE output is warmer and less harsh than the balanced output.

There is probably no reason for me to hear one be warmer than the other, although I haven’t seen measurements, but my brain tells me it is. Using the same IEMs, with the same cable (terminated in 2.5 balanced), just swapping the adapter and from SE to Balanced, I feel that the IEMs sound harsher from the Balanced output.

Obviously the balanced output is louder until we reduce the volume level and performing a perfectly volume matched test is rather difficult with just one device (without quite a gap between listening to one port and the other), so it may be just my perception due to the volume differences, but I also feel the balanced output to be far more fatiguing over longer listening sessions.

Again, different music choices, different moods, different times of day, everything can be an influence, but as an example, I found that using the Yuan Li from from the balanced output made me feel like taking a break every hour or so, whereas from the the SE I could listen all morning (4 hours).

The XBass is great (isn’t iFi XBass always great?) although I don’t really use it that much. I have used it on a few occasions but not really too much, more for specific albums than anything else.

The XSpace is ok but unfortunately (for me at least) it is not the same as the XSpace on the iFi HFM Signature CAN. On the HFM Sig I found that the XSpace worked really well to give IEMs a bit more room to breathe up top, with the Go Blu I don’t get that same sensation of openness. It is more like a subtle treble boost (which I guess the CAN was also) that doesn’t quite give the same result.

Here is a graph of the changes in frequency response between the 4 modes (off, XBass, XSpace, XBass + XSpace):

I guess that the last thing to mention is how the Go Blu performs and sounds with more demanding headphones. To be honest, as most of my listening is done at low levels and a lot of it is quite simple acoustic based music, I probably don’t suffer as much as someone who listens loudly to Metal. I don’t personally need the speed or the volume levels that others may need.

Saying that, here are a few brief opinions on things I have tried with the Go Blu.

IEMs (in General): I have found that the Go Blu can drive any of my IEMs from the SE output without any issues. I have tried multiple IEMs and I did find that balanced opened up some of the darker sounding IEMs a little, my favourite IEMs have been things like the Jasper and the Yuan Li, running from the SE output.

Beyerdynamic Custom Studio (80 Ohms / 96dB/mW): These were actually the first over ear headphones I tried with the Go Blu, as they live in a drawer of my desk in the office. Running them from the SE output I didn’t find that I had any issues with volume or performance in general. I was actually surprised to find that I really like the combo and they make a great BT headset.

Hifiman Arya w/ Stealth Magnets (32 Ohms / 94dB/mW): I enjoyed these headphones powered by the Go Blu, from both the SE and Balanced outputs. With the majority of music I listen to, there were no issues but when listening to some heavy paced electronic music, I did feel that they weren’t performing to their capabilities. They lacked some technical performance more than actual sound issues.

Hifiman Ananda (25 Ohms / 103dB/mW): I enjoyed this combination very much. I did not find that the Ananda seemed to be lacking in any way and seemed to be as detailed as always. I actually preferred these from the SE output.

Hifiman HE400se (25 Ohms / 91dB/mW): These sounded ok with the Go Blu but somehow seemed to be lacking a bit of life. Where the Arya was lacking in technicalities, the HE400se just seemed to be a little dull in general.

Sennheiser HD6XX (300 Ohms / 103dB/mW): These headphones actually sound fairly decent on the Go Blu, at least at low listening levels. I didn’t really push these while trying them out as I had people at the side of me but I enjoyed the while I spent with them (it’s always random whether I enjoy these headphones or not anyway).

Beyerdynamic DT1990 Pro: Guess what? They sounded like DT1990 Pro’s, as they always do

That is about all I have tried out with the Go Blu, except for the Titan S that I tried out briefly today, but I will certainly be trying out new stuff I receive with it and I’m sure it will be mentioned in more reviews over time.

Conclusion…

iFi Audio seems to have a vibe with their products that invite you to listen to music. I know I haven’t had the pleasure of trying all their stuff but the ones I have, all give off this same vibe, except maybe for the Diablo. The Diablo still has that iFi flavour but is more of a “look what I can do!” kind of source than others that are more “just sit back and enjoy!”. I had that sensation with the NEO and with the HFM stack, and now I get it with the Go Blu, even though it is not using the same hardware at all.

I avoided the Go Blu for so long because I thought I would not use the BT functionality except on occasions and that there were better wired options, so it would just sit in a drawer. I have been proven wrong. Not in the fact that there are better products out there, everyone will have their own needs and things will suit them better or worse, but in the fact that I wouldn’t use it.

As I said earlier in the review, it is the first BT device that actually inspires me to pick it up even when I have wired alternatives on hand. In comparison to other things that I have been using recently, such as the Hidizs S9 Pro and the Aune BU2, it is different to both of them.

The harshness I find in the higher ranges of the S9 Pro is present in a similar way but to a more reduced extent on the balanced output of the Blu. As with the S9 Pro, I find the balanced output of the Blu to be more tiring over time. However, everything else about the Blu (except for the 24/96 limit) is superior by a mile. The build, the looks, the functionality and the fact that it inspires me to relax and enjoy the music where the S9 Pro is more of an attention seeker.

In comparison to the BU2, they are again different. I feel that the BU2 focuses on USB with BT as an extra, whereas the Go Blu is the other way around. If using Bluetooth I would no doubt go for the Blu, but when competing on wired terms, the Aune is more detailed in my opinion. Maybe more detailed is the wrong term, it is clearer with its details, whereas the Go Blu is more relaxed. The balanced output of the BU2 also avoids that harshness I mentioned, sounding exactly like the unbalanced output (in my opinion), just with more power.

I have to say that the iFi Go Blu really is a great little product. It is a perfect companion to always have on hand as it fits in an IEM case along with a set of IEMs, a couple of adapters and a USB-C to USB-C cable.

There are a couple of things that could be improved on and I would love to see more case options for it (even if they are just simple transparent cases with a clip like on the S9 Pro) but other than that, I really can’t complain.

And the final thing that matches the rest of the iFi products is that my review of them turns into a long wall of text!

This review is also available in Spanish on my blog here and on YouTube here.

[SenyorC]

The Titan S have been sent to me by Dunu for me to try them out and share my impressions. Dunu have not requested anything specific, therefore my review will follow the usual system of being as unbiased and sincere as possible, while keeping in mind that it has not cost me anything in order to try out these IEMs.

You can find the official Dunu Titan S page here: https://www.dunu-topsound.com/titan-s

Intro…

Dunu are a brand that I have had on my radar for quite a while but never had the chance to try until now. IEMs like the Zen, Zen Pro, and especially the SA6, have all been models that have drawn my attention and their modular cables are not only a great idea but have also been praised by many for their quality.

None of these items are really budget oriented though, so when they announced a new budget model in their line up, the Titan S, I was of course immediately interested. I have been lucky enough to be sent these out by Dunu to try and I am really glad they did.

Presentation…

The box is cheerful and colourful, showing an image of the Titan S on the front with specifications on the back.

From the coloured sleeve, a simple black box sporting the Dunu logo slides out. Removing the lid, we are greeted with a very nice carrying case, inside of which we find the IEMs, attached to their cable, but each covered with their own individual zip lock bag.

Under the case there is another smaller black box that contains the warranty card, (plenty of) replacement tips and a clip for attaching the cable to your shirt etc.

There is nothing really out of the ordinary about the way they are packed but it does show that plenty of care has been taken to pack them. I can’t complain about the amount of included tips (of multiple types), in fact, I really don’t think there is anything I would consider missing from the presentation at all.

Build and aesthetics…

Anyone who has seen a photo of the Titan S, which you obviously have if you have made it this far into the review, will have noticed the steampunk aesthetic going on. I have to say that I am a fan of the looks, they break away from the aesthetics of so many other IEMs (as do many of Dunu’s models) but I can’t deny that I was worried about fit. The thing with using strangely shaped and contoured IEMs is that there is a big risk of them being uncomfortable, but that is not the case with the Titan S (at least for me).

The size and shape of the shell does not cause me any kind of discomfort at all, as long as I am using tips that work for me, and they are also lighter than I expected from the photos. After trying the included types of tips, and a few more, I decided on the included red tips and they are what I have used for these impressions.

The build quality seems to be of high quality and Dunu have paid attention to detail, with things like the connectors being shaped to match the aesthetics of the shells.

That is something that some may see as a negative, the fact that changing the cable (even though it is a simple 2 pin) will interfere with the looks of the IEMs, but the good news is that the cable included is a very nice cable. It is a simple twisted cable which is quite thin but feels very nice and does not have a habit of tangling at all. It fits nicely together and I must say that the Go Blu with the Titan S connected via the stock cable looks great!

Sound…

Straight away I knew I was going to like the Titan S. The overall tuning is aimed towards my preferred kind of tuning and after 5 minutes of listening, I knew this was going to be an enjoyable review.

I have used these IEMs on my usual setups that I use for testing and comparisons between IEMs, but I have to say that I found these to work extremely well with the Go Blu and would be high on my list of choices for a general day to day IEM, but I am getting ahead of myself, so let’s do the usual walk through the frequency ranges.

Starting off down in the subbass, there is no real boost down there but it doesn’t roll off sharply either. I put them through the usual sub test that is “Chameleon” and I can’t say that I needed any more sub bass than what they gave me but that doesn’t mean that others won’t find themselves looking for a little more of the rumble. In more realistic scenarios, in other words with songs that aren’t aimed at destroying subwoofers, I would say that the low end is nicely balanced and works well with the overall tuning.

Moving into the mid bass category, they may be just slightly warmer than neutral but are by no means boosted. In fact, they remind me a lot of the bass found on the Aune Jasper, that is fairly neutral but with just a hint of warmth.

Listening to my usual acoustic based music, I would find myself feeling that they could have even added a little more in this area but when swapping over to other music that has more bass content, such as “No Sanctuary Here” by Marian Herzog feat. Chris Jones, I am very glad they didn’t. This is mainly due to the additional presence around the 3kHz mark but I will mention that in more detail in a moment.

I would say that the bass is maybe not the most detailed bass out there but it has a way of making things sound real. The timbre of things like acoustic guitars sound very natural and listening to “Long After You’re Gone” by Chris Jones, the air moved by the hits on the guitar body really stand out.

Moving into the mids, there is no sense of anything being missing at all throughout the mids, with a nice clean transition moving into the lower mids that doesn’t seem to get muddy not matter what I decided to listen to.

Reaching the higher end of the mids, there is a presence as we move past 3kHz that is slightly higher than normal and give voices a bit of a push forwards. I recently reviewed the Reecho SG01 that also had a bit of a boost in this area and I mentioned that this created a sensation of harshness with some music and vocals. This is not the case with the Titan S, the additional presence is a lot smoother than on the SG01. Where there was a more pronounced peak just over 2kHz, the Titan S just climbs smoothly to be and doesn’t create that harshness at all (as long as you are not listening to music that is already overly boosted in those frequencies).

I feel that another reason for the Titan S to avoid being overly present in those higher mids is due to these IEMs having a fairly decent extension in the higher ranges. For a single dynamic driver, aided by its overall tuning, the treble extension is more than acceptable, especially if we think of the price range these sit in.

This gives a nice sense of air to the IEMs and although the soundstage is not the largest out there, it is still at least average, with image placement and separation being quite good and making the most of the space they have to work with.

Detail and speed is also pretty good, again aided by the overall tuning, sounding clean and not making me have to strain to be able to focus on those details. Ok, these are not detailed in a way that something like a planar headphone is but are certainly more than adequate for what I usually expect from a sub 100€ IEM.

Vs Aria…

I don’t usually go into too many comparisons in my reviews, you can read other reviews of mine to see what I feel about other IEMs (that is why I try to keep my review system consistent) but the Moondrop Aria is something that needs to be mentioned. Ever since I received the Aria, back in May last year, they have been my go to recommendation under 100€ (and for many other people) and I think the Titan S are a serious contender for that spot, if they haven’t won it already.

The main difference between these IEMs, which sit at the same price point, is the tuning and the way they focus on different presentations. Where the Aria are a much warmer and laid back presentation, the Titan S focus on a brighter “more awake” presentation. The latter works much better for my preferences and the majority of music I listen to.

I don’t feel that the Titan S are leaps and bounds above the Aria as far as technicalities, I just feel that they present them in a way that makes it easier to appreciate them. Personally, after listening to both, I prefer the Titan S over the Aria but which you prefer will depend on your preferences and the music you listen to.

Conclusion…

The Dunu Titan S have been a nice introduction to Dunu for me. I obviously can’t say how they compare to other Dunu products but against other similarly priced (and some higher priced) alternatives, they are more than competitive.

When I think of Dunu, I think of their higher end models and their modular cables, but the Titan S is a set of IEMs that deserves a lot of attention.

I wouldn’t say the Dunu is the “best” anything in particular, but I would say that it scores well in every category and is tuned in a way that I find very pleasing. I feel that Dunu haven’t just released this IEM so that they have a model in a, lets face it, very popular price range, I feel that they have spent time on making it a good IEM, treating it as its own thing and not just dropping their name on something. Dunu have proved that they know what they are doing with their other models, and with the Titan S they have proved that they put effort into all of them, independently of the price.

If you are a fan of the looks (which I can imagine some people won’t be, but I am), and you like a tuning that is aimed more towards a neutral bright response, then the Titan S is really one of a kind, I don’t think there is anything like it on the market.

I am glad that I have had a chance to spend time with these IEMs and they have turned into a reference point for me under the 100€ mark.

As always, this review is available in Spanish on my blog here and on YouTube here.

[SenyorC]

In order to keep things more on topic, as this thread is inside the IEM section, I will post only IEM related reviews in this thread moving forwards.

The review of the Hifiman Edition XS has been moved to its relevant thread and can be found here.

Thanks to @Ohmboy for his assistance!

[SenyorC]

CCA CRA

The CCA CRA have been sent to me free of charge by KZ, the brand behind CCA. The only request they have made is that I publish this review including a few links that I will post on my blog. They have not made any other requests or comments, therefore, this review will be the usual combination of being as sincere as possible and avoiding any bias, however, as I always point out in these cases, the IEMs did not cost me anything to try them out and that is something you should consider when reading (or watching) my review.

To see the links, you can visit the post on my blog (here) but they did also send me a discount code that you can use on their site which I will leave here. I actually don’t know how much the discount is but the code is: DRCRA

Intro…

If you are not really into the budget IEM market, you may not know that CCA are actually a brand that is part of KZ (Knowledge Zenith) and that their products are designed and manufactured by the same people. The reason for this is something that you would need to ask KZ about but my guess is that it allows them to cover more ground and, although they compete against themselves, if you are competing against yourself, you have more chances of winning

The reason I mention this, apart from sharing the info, is because I have reviewed quite a few KZ IEMs on Acho Reviews (and tried quite a few more that I haven’t reviewed) but I have never actually reviewed, or tried, a CCA product.

It is not that I have avoided CCA for any specific reason, it’s just that models sent to me for review have, coincidently, all been KZ and the models that I have purchased (which have been more than I have been sent!) have also been KZ.

Basically this means that I was expecting KZ style with a different name, which you could say that the CRA is (to a certain extent), but what if the best KZ is actually not a KZ?

Presentation…

The presentation of the CCA CRA is very similar to the usual KZ presentation. A simple white box that shows an image of the CRA on the front with some basic information on the back.

Removing the outer sleeve reveals the IEMs in a plastic cutout at the top, with another white box below them containing a couple of sets of tips, the cable and the usual KZ style warranty card.

There really isn’t anything exciting about unboxing the CRA, with the contents being the minimum that can be expected for the price which I haven’t mentioned yet but I probably should give this review some perspective, the CRA cost less than 20€!

Therefore, for the price, I really can’t complain about the contents or packaging as I would rather something at this price have 99% of the cost dedicated to the sound of the IEMs!

Build and aesthetics…

The CRA are IEMs that use a generic shape found on a lot of models but it is a shape that is ergonomically comfortable for most people, including myself. The interior of the shell is transparent with the faceplate being silver and a small transparent window to see the insides. They are also available in black for those who prefer them.

I must say that the aesthetics of the IEMs are simple but do have some thought and effort put into them, which I can’t complain about as I find the resulting looks to be non-offensive, with nothing that really stands out but doesn’t scream “cheap” either.

The included cable is the same as the cables that have been included in all the recent KZ models, with the wires covered in a transparent silicon type material. I will say the same here as I have said in other reviews of IEMs using the same cable: it is not the best cable in the world but it is miles ahead of the older style cables that they used to include and I feel that it is more than adequate for the IEMs.

Sound…

Let me start off by sharing the first thought that came to mind when I first tried the CRA, “ Wow! These have a lot of bass! ”. If you have followed any of my other reviews (or ramblings) in the past, you will probably think that this will lead to me saying that these IEMs are not for me, as I don’t like bass. But that is not the case.

Let me just clear up the part about not liking bass first. It is not that I don’t like bass, I love bass, I’m a bass player! What I don’t like is bass that takes over the sound, making itself the center of attention. Sometimes I will be in the mood for a bass boost but in general I prefer a bass that is good while not taking over the whole sound signature. There are plenty of models out there with lots of bass that manage to keep themselves balanced at the same time, mainly because they have good bass that they control and not an exaggerated uncontrolled low end.

I have to say that the CRA are a set of IEMs with lots of bass but it is well controlled, clean, detailed and does not take the rest of the sound signature hostage. So, let’s take a look at the usual frequency ranges and my opinions of them.

Starting with the sub bass frequencies I feel is a good description as the lowest of notes on the CRA are also the most elevated. I like an increase in subbass as we get lower as this counteracts the natural hearing roll off, making things still seem balanced. The CRA have a subbass that is more than an increase, it is actually the start of a long slope that drops at the same consistency all the way to almost the center of the mids. If you look at the graph, you will see what looks like a ramp that spans from the lowest of notes (20Hz on the graph) to almost 800Hz.

Now, if I had looked at this graph before listening to the CRA, I would have immediately dismissed them as being far too bassy and probably muddy for my tastes. The thing about receiving things for review sent by others is that I (mostly) don’t get to choose what they send and this, for better or for worse, means I get to spend time with stuff that I would usually not choose. This is one of those cases, also being one of the occasions when I didn’t get what I expected (which is not always bad!).

Due to the way that the subbass and midbass (and even the lower mids) are presented, I really need to lump the subbass and midbass together as I feel they are one big part of the sound signature of these IEMs, so let’s just refer to bass in general in this review.

The bass is elevated, without doubt, being far more present than I would ever choose but at the same time, the bass is clean, articulate, controlled and… well… good. I found that these IEMs inspired me to listen to some old school Hip Hop (80s and 90s) and I found myself enjoying the sound signature of some of the better recorded stuff, such as Tupac, Snoop Dogg, etc. However, I will say that the stuff that is not well recorded, many times due to the bad quality of samples used for the instrumentals, does not translate well on the CRA. These IEMs do have a way of pinpointing issues in the bass areas, which is a good thing if you listen to well recorded music. If you are looking for something that boosts the bass on an early Eminem mixtape, then these are not the best candidate.

Listening to other styles of music, such as the acoustic based music that I usually listen to, I did find them to be a little bass heavy but not really offensive. For example, “Way Down Deep” by Jennifer Warnes, has some bass hits that can be very overpowering with bass boosted IEMs, but with the CRA it was still a pleasant listen, even with a little too much bass.

Moving over to something a little more electronic, such as “Sun is Shining” by Bob Marley & Robin Schulz, again there is far more bass than is needed but it doesn’t take over the sound and make itself the centre of attention. The bass is clean enough to let the remaining other frequencies break through without feeling that they are totally disconnected.

Obviously I couldn’t skip over my usual “sub”test on a set like this, which is “Chameleon”. There is a wall of bass with this track, as is to be expected, but it actually controls the low end on this track much better than some other sets with much less bass.

Moving on to the mids (finally!), these IEMs do have a V shaped tuning to them, with the lowest part being found around the 800Hz mark. Starting off with the transition, this is remarkably clean if we take into consideration what I would expect from the graph. However, the cleanliness of the low end again works in the CRA’s favour to not cause a sensation of muddyness or bleed. It may not be the cleanest transition ever but it is certainly not something I would complain about.

After the 800Hz mark, the presence starts to climb towards being more present in the higher mids. This is again a smooth rise and the presence around 3kHz is enough to bring voices forward a little but the highest point is around the 4kHz to 5kHz range. I feel that this helps even more with the presence when that huge low end is happening. When songs have less bass presence, I was expecting the voices to be a lot harsher and fatiguing but to be totally honest, they are not actually that bad at all. I was expecting Sara Bareilles to sound a lot harsher on her live cover of “Sittin’ on the Dock of the Bay” but she was actually quite and enjoyable listen, even though it is not the best presentation of her vocals, it is still rather impressive for a 20€ set of IEMs with this kind of tuning.

Up in the treble there is another little peak of presence that adds a some sense of air and extension in the higher ranges. The extension of the highest ranges is not spectacular but is better than a lot of other single dynamic options, with that little peak that seems to increase the sensation. This can cause some sibilance with certain tracks and voices, for example “El Cuenta Cuentos” by Nach has quite a bit of sibilance, especially if raising the volume a little. The typical test of “Code Cool” is proof that the sibilance is just a little too much.

Soundstage is on average with the majority of IEMs in the lower price brackets. It is not terrible but does not present itself as wide and open. Inside the space the placement is actually not bad though. They seem to do a fairly good job of separating layers and placing images in a way that make it seem like there is a little more space than there actually is. “Strange Fruit” is nicely presented and it is easy to place each of the voices, as it is also easy to get a feel for the live recording by Sara Bareilles I mentioned a moment ago.

Detail is also more than acceptable for an IEM at his price range, in fact, I would say that it is acceptable for IEMs that sit in a much higher price range. Things like string slides, microphone placements, or even the noise of the room that “Sittin’ on the Dock of the Bay” was recorded in, are all easily identified on the CRA.

Conclusion…

Ok, so we have a budget set of IEMs with a crazy amount of bass on tap and I don’t dislike them, in fact, I actually like them quite a bit. They are not a set of IEMs that I would personally use all the time (you all know my tuning preferences by now) but the time I have used them over this past week has been a very pleasurable experience and they are going to become another new reference point for me.

If the Titan S that I reviewed recently have become a reference point for me for their tuning and build at that price point, the CCA CRA are a reference point for me as to how to get a huge amount of bass into a budget IEM and avoid it taking the rest of the sound as a hostage.

Yes, there is a bit of sibilance that can irritate me but is more than tolerable, especially if avoiding sibilant tracks. The build is decent enough, the comfort is fine and the whole package is just a decent option.

If you are looking for a budget set of IEMs that has enough bass for even the biggest of bass heads but is still coherent and well presented, the CCA CRA are a great option. I am sure that these IEMs will make a lot of people happy.

As with all my reviews, this is also available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Tripowin Leá

The Tripowin Leá have been sent to me by Linsoul for me to test them and publish this review. There have been no specific requests from Linsoul, although I will leave a (non-affiliate) link to the Leá via the Linsoul web site on my blog.

This means that I will do my best to be as sincere and unbiased as possible but, as always, it is a good idea to keep in mind the fact that these IEMs have not cost me anything to try out.

Intro…

Tripowin is a brand that is fairly well known in the IEM segment, having gained even more traction lately due to collaborations with HBB, from the “Bad Guy Good Audio Reviews” YouTube channel.

The Leá is a new budget option from the brand, coming in at just over 20€ and placing them firmly inside the sub 50€ category that I like to mention on Acho Reviews.

I have not had any previous experience with Tripowin so I was quite interested in giving them a whirl and seeing what they are capable of at such a budget price point.

Presentation…

The presentation of the Leá is very simple. They arrive in a small black box with a clear plastic cover. Inside there is a sponge insert containing the IEMs and two extra sizes of tips, with the cable stored below. That is all.

I am not one to complain about the contents or packaging of extreme budget IEMs, as I have said many times, I would much rather the cost be invested in the sound than anything else at this price point, and the Leá are no exception.

Build and aesthetics…

The IEMs are small and completely made of metal. The design is simple, all black, and features the brand stamped into the faceplate. I must say that I like them. Yes they are simple but they are also elegant and well made for their price point, absolutely no complaints from me in this regard either.

The included cable is not something that I like as much. For some reason it reminds me of the cable that was included originally with the HE400se (they have since changed the included cable), although the Tripowin is not as bad.

I can’t say that the cable is bad, it does its job, but it just feels cheap and plasticky. The cores are covered by what seems to be a silver foil, which is then covered by a transparent rubber material that gives that plasticky feeling I just mentioned. The 3.5mm connector is plastic, as are the slit and the chin slider, although the 2 Pin connectors are metal. A positive side to the cable is that it doesn’t have a preformed shape for the ear, but I stil find that it doesn’t feel nice resting over the ear.

The fit also disagrees with me for some reason. I had quite a struggle to get them to fit and seal properly, trying all kinds of tips (although I reverted back to the included L size tips for this review) and they never really felt comfortable in my ears.

This is obviously something that will be completely different for each individual, however, in my case, I just don’t find them comfortable.

Sound…

(note that all songs mentioned in this review are clickable links that will allow you to listen to the song on the streaming platform of your choice)

If we start off by looking at the graph that compares the Leá to my personal preference target, we can see that they are really not that far away from my preferences, especially with regards to the mids.

This would mean that, on paper, I would find them to be tuned in a way that that suits me, however, while I have listened to many songs that I have found pleasurable on the Leá, it has been an experience similar to the fit and comfort, I have had to actually pick specific music and specific volume levels to enjoy them.

My listening volumes are usually quite low, which helps the Leá quite a bit, but when increasing the levels a little, I have found that they can quickly become harsh. I have also found that tracks that I usually don’t have issues with will again sound quite harsh on them, whereas other songs I expected to be problematic were not actually bad, as long as volume levels are kept in check.

Let’s take the usual walk through the categories and I will try to explain more as we go.

In the subbass region, there is some roll-off as we reach down to the lowest notes. Using the usual “Chameleon” by Trentemoller, there is sub bass but it is not a rumbling low end, being more present in the higher ranges of subbass and into the midbass.

The midbass does add some presence to the low end, doing it in a very clean way, but it always seems to remain rather polite. Now, I know that I am not someone who likes overly present bass, and my preferences have not changed, it is just that it seems to be lacking a little warmth in the lows, making instruments feel a little sterile. Listening to “Way Down Deep” by Jennifer Warnes, there is enough bass to give those hits a little life but again, it just comes across as being too polite.

Moving into the mids, the transition is pretty good, the bass doesn’t seem to invade the lower mids, keeping the lower mids present but without bloat, seeming to actually be rather detailed in these areas. I expected busy tracks in these regions, such as “The Room” by Ostura, to lose their composure in these areas but it is not the case, guitars and basses remain well separated and although I would like some more warmth to fill them out a little, it is nice to be able to separate the instruments in this area without needing to focus.

As we climb towards the upper mids, this is where I start to get a little cold with these IEMs. Now, there are tracks that sound fine in these areas when volume is kept low, but once volume levels are increased, or certain songs start playing, they suddenly become harsh and even painful at times.

For example, “Walking on the Moon” by The Police, has the guitar strikes that happen throughout the intro and these are not the most enjoyable experience if my volume levels were anything above very low. However, while the guitar strikes are not pleasurable, around 18 seconds in, there is a hit on the rim of the snare (at least I think it’s a hit on the rim of the snare) which starts to happen with each guitar strike. This rim strike is outright painful.

As “Walking on the Moon” is not exactly a modern recording, we could blame the recording, if it wasn’t for experiencing the exact same things on other tracks such as “Breezeblocks” by Alt-J. I could literally name a bunch of songs from my usual test list that cause this experience. From Michael Jackson’s “Billie Jean” to “Bang Bang” by Dr. Dre, as soon as the volume is anything above my usual listening levels, I suddenly find them to become harsh and even painful.

Moving up to the higher registers, the same story continues. At low listening levels there really isn’t much to complain about, the extension is decent and they are clear and articulate, however, once the volume level increases…

Listening to the usual sibilance test, “Code Cool”, they are a little hot in the “S” department. They are not the most sibilant set of IEMs I have listened to, far from it, but the harshness I have been mentioning doesn’t help them feel any smoother in this regard either.

Conclusion…

I am at a bit of a loss with these IEMs. The tuning is good and the performance is good, when the music and the volume level allow. As soon as I leave the comfort zone, things become unpleasant for me very quickly.

I am very much aware that opinions differ greatly from one person to the next and that means I can’t say that the Leá are bad, they just are not for me. I could use them at low background levels and not dislike them, but as I said, my normal listening levels are low, so I think that anyone who likes to raise the volume more than I do (which I should immagine is the majority of people) will discover those sharp edges that appear.

The build is great and the price is also, so I think that they are worth trying out if you feel these are something you would enjoy but they won’t make my list of recommendations.

As with all my reviews, this is available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Koss KEB90

I recently reviewed the Koss KPH40, from the new Utility Series from Koss, and mentioned that they had also sent me the KEB90, a set of IEMs from the same series that also makes use (or can make use) of the Utility Cable.
The same disclaimer that I posted in that review also stands for this one, while Koss have not requested anything at all, not even that I post links, it is good to take into consideration that it has not cost me anything to try out these IEMs.

You can find out more about the KEB90 on the official Koss site here: Utility Series - Koss Stereophones

Intro…

If you haven’t read my review of the KPH40, you can find it here: Koss KPH40 Utility Series. While these are obviously completely different earphones, in the KPH40 review I went into some detail about the series and more specifically the Utility cable in the “Functionality” section.

While I will still mention the Utility cable in this review, I will not go as far into details and include a “Functionality” section in this review, so if you are contemplating the Utility cable, please refer to my previous comments.

As a brief recap, Koss have recently launched the Utility series, which feature two sets of on-ear headphones (the KPH40 that I reviewed and the PortaPro) along with a set of IEMs that I will be focusing on today. One of the main things that stands out about this new series is the use of a detachable cable, allowing you to remove the included 3.5mm TRS cable and swap it for the Utility cable, which includes a DAC/Amp and controls on the cable, terminating in USB-C or Lightning, meaning it can be connected directly to a phone, tablet, laptop, etc.

Although, at the time of creating this review, the KEB90 are not yet available in Europe (in fact, the whole Utility Series will become available in the near here in Europe), Koss did inform me that these IEMs will have a retail price of 89.99€ and the Utility Cable, which is sold separately, will cost 49.99€.

When I reviewed the KPH40, I said that they are up against some tough competition from inside their own brand because, let’s face it, there really isn’t anything quite like them. The KPH40, KSC75, PortaPro & KPH30i, are 4 models that I feel compete amongst themselves, all being worthy of consideration and the “best” being dependent only on the subjective tastes of the listener.

In the case of the KEB90, they have a lot more competition. There are so many sub 100€ IEMs on the market, some of which are extremely good, that it would be impossible to name all of them. This means that Koss needs to do something special in order to be in the running, and while Koss is a well known brand name, that isn’t enough to cut it in this IEM world that seems to have multiple new sets released every day.

So, enough with the chit chat and lets get to the real subject, how do the Koss KEB90 perform?

Presentation…

As with the majority of their models, Koss opts for a very simple and basic packaging. Although in this case they are a little more complex than the usual “cardboard only” packaging. They arrive packed in a simple white sleeve that shows the KEB90 on the front with some more basic info and details around the sides and on the back, with a black box that slides out from the inside.

Inside the box we receive the IEMs and the standard 3.5mm cable in a smaller box, a few sets of tips in different sizes of silicone and two sets of foam tips, also in their own small box, along with a Koss branded pouch for transporting them.

The tips I find quite pleasant and are what I have been using throughout this review. A nice little touch is that the cores of the tips are coloured, blue for left and red for right (although they will still work the opposite way ), which makes the sides instantly recognizable when picking them up.

The storage/transport pouch is rather simple but it works and seems to be quite durable. It’s not quite a case but I am not going to mention other brands that include nothing at 20 times the price.

My opinion of the Koss packaging and presentation is that I like the fact that they usually only use cardboard, packed in a way that keeps them safe for shipping and then can be totally recycled once open. However, in the case of the KEB90, there is a large plastic insert, which, while still being quite simple, does mean I cannot make my usual comment about applauding the use of only cardboard.

Build and aesthetics…

The shape of the IEMs is a little different from usual, as are most things Koss. The metal shell is like a larger version of the Tanya, with an opening on the back that seems like a vent, although covering the vent does not seem to drastically change the sound, which leads me to believe that it is mostly aesthetic, maybe with a small vent inside.

The nozzles are offset and point towards the front, meaning that they are actually quite comfortable once inserted. I still maintain that the flat cable is the best cable that I have tried from Koss, although I prefer it on the KPH40 than on the KEB90. On the IEMs it can be a little microphonic when moving my head around.

The build quality seems to be good and actually inspires me with far more confidence than other Koss models do, but as I said in other reviews, I have never had an issue with Koss, therefore I don’t expect these to have any issues as far as build.

The aesthetics, while not being anything extraordinary, do have a bit of a “Utility” vibe to them, which I actually like. They are not going to win any prizes for beauty but they are certainly not ugly.

Sound…

As with all my reviews, the songs mentioned are clickable links that will allow you to listen to the track mentioned on the streaming service of your choice.

I have tried the KEB90 from my usual setups but to be honest, I find that the Utility Cable works really well with them and that is what I have used for the majority of my listening test. As I mentioned also in the KPH40 review, I can’t spot any difference between the Apple Dongle and the Utility Cable, which I see as a positive because the Apple Dongle is actually a pretty good device (especially if we factor in price). The sound with the Utility Cable is just as good and has the extra benefits of volume control, play/pause and a microphone.

Starting from the bottom of the frequency range, these IEMs have plenty of subbass. In fact, they have a crazy amount of subbass, and mid bass, and lower mids. I think that the KEB90 are actually the IEMs with the most low frequency presence I have heard. The overall signature is very “V” shaped and I must say that the higher frequencies are boosted in a way that actually makes these IEMs listenable, but I will get to the higher frequencies in a moment.

Just to put this into perspective, here is a graph that shows the KEB90, the CCA CRA (which I found to have a large subbass/bass presence) and my preference curve:

As you can see, the low end is almost off the map, being almost 15dB above my personal preference and 10dB above the CRA.

This obviously results in a sound signature that is far bassier than I personally like, but I have to say that I do not hate it. It is not something that I would choose to listen to all the time but it does provide a sound signature that can be very exciting.

There is ample low end rumble for anyone no matter how much of a bass-head they are. This can become overpowering on some tracks that are already boosted in the low frequencies, such as “Bury a Friend” by Billie Eilish, although her voice doesn’t quite disappear as much as I expected it to with the huge wall of bass.

The “Chameleon” test is basically a rumbling massage of the eardrums, with a huge amount of bass, although the higher ranges still manage to break through somehow.

As the whole of the low end is boosted, all the way up to almost 1kHz, there really isn’t much point in trying to divide the frequency ranges, so let’s move straight to the higher mids and their transition into the lower treble.

As you may have noticed on the graph above, the tuning is quite close to that of the CRA, rising to a peak around 5kHz, which is a little higher (in frequency) than the CRA but is also about 5dB more.

I would have expected this to make the sound very harsh and it is actually not the case. Vocals do come across a little recessed, as is to be expected with such a sound signature, but they are nowhere near as absent as I would have imagined. That peak actually balances out the sound signature quite well, although it is still clearly a V shaped profile.

Beth on “Don’t You Worry Child” in not as harsh as she is on many other sets with less boost in these areas, and although she is not as forward as she usually is, she doesn’t get lost too much in the mix.

There are times, such as the break in “Shot Me Down” by David Guetta, where the upper ranges do sound a little too harsh due to those parts of the song not having the wall of bass to smooth things out, but it is really limited to those kinds of occasions. Think of it like when a DJ boost the highs and cuts the bass, it can seem so wrong but as soon as the bass comes back it balances out.

The extension is not great, there is some treble but it is much more focuse on the lower treble (and higher mids) than on the higher treble ranges which roll off fairly quickly when we hit the “Air” regions.

I will say that the soundstage is actually fairly decent, again, much better than I expected from this kind of presentation. Listening to “La Luna (binaural)” by Ottmar Liebert and Luna Negra, there seems to be plenty of space for the instruments to spread out around you.

Detail is not the KEB90’s strong point but it doesn’t sound mushy, which would usually be the case with this amount of bass, and it actually separates things fairly well, all things considered. The bass also seems to be kept clean and fairly precise, something that is quite an achievement with this quantity.

Conclusion…

I’m sorry to say that the KEB90 sound signature is not for me but that doesn’t mean that I haven’t been able to enjoy listening to them. I wouldn’t choose them to listen to the majority of my usual music selection but when I feel like some of “dat bass”, they are a fun listen.

The problem in this case, I feel, is the price point. For 90€ there are a lot of good IEMs out there, such as the Titan S or the Aria. Admittedly the KEB90 aims for a completely different crowd with their tuning, and I can actually see a lot of general consumers listening to these and finding them great, as the bass is certainly not what you expect. In the realms of things like consumer grade JBL, Skullcandy and the other mainstream brands you find in electronics stores, I feel that the KEB90 can easily give them a run for their money.

However, moving back into the audiophile side of IEMs, I think that there are better options for less money. I mean, the CCA CRA is less than 20€ and does similar things in a more balanced way. I am probably not the most ideal person to value these, as I am not one for large amounts of bass (except on occasions when I am in the mood), but I personally wouldn’t rush out to buy a set.

The other side of the coin is that they are very well built and you have the option of using the Utility Cable with them.

In fact, I really feel that “Utility” is a good way of describing the KEB90, they are a rugged set of IEMs that provide a ton of bass that will impress most general consumers even in noisy conditions, they are small enough to always keep in a pocket and I think that they have a market that they will be well received in, I am just not that market.

As always, this review is also available in Spanish on my blog (here) and YouTube (here).

[SenyorC]

Effect Audio Axiom

The Axiom have been kindly sent to me by Effect Audio as part of the international tour they arranged. The only request was that an honest review of the IEMs was published on Head-Fi. No other requests or comments have been made but, as always, it is good to consider the fact that it has not cost me anything to try these IEMs.

You can find the official webpage for the Axiom here: Earphones

Intro…

This review has actually been an interesting one to put together, as there are many things that break away from what is considered “usual”. As I have done my best to avoid knowing anything about the Axiom, this has meant that I have had quite a few discoveries as I have been reviewing this set of IEMs. I will try my best to put all of these experiences into this review in a comprehensive way but please forgive me if I jump around a little as we go on. It will probably also turn into quite a long review, so refreshments may be a good idea

Starting with the brand, Effect Audio is a company that is better known for it’s high end cables, with various models ranging from around 100€ all the way up to nearly 4.000€. The cable which I have received with the Axiom I believe is the Cleopatra, which retails at around 800€ (although it is discounted to around 500€ if purchased together with the Axiom). I will discuss more about the cable as we work through the review.

The IEMs, which I believe are the first IEMs from the brand, were released late last year and, together with an even more recent release of the Axiom XP which are not yet available, are the only IEMs on their website. The Axiom have a retail price of just under 1.500€, with the new XP version coming in at a price that has yet to be confirmed but is forecast (according to Effect Audio) to cost around 2.300€.

This puts the Axiom straight at the top of the list of most expensive IEMs I have reviewed, even without factoring in the cable. In fact, the cable is more expensive than the vast majority of IEMs that have been featured on Acho Reviews. While price is not a guarantee of quality, it is something that creates expectation and also means that the smaller details are scrutinised a lot more, at least by me.

Until now, my favourite IEMs have been the Symphonium Helios, which also happen to be the most expensive IEMs I have reviewed, until now. So will the Axiom prove to be a step up?

Presentation…

The unboxing of the Axiom has been one of the most bizarre unboxing experiences I have had with IEMs. In fact, it is probably the most “different” unboxing experience I have had with any headphone related product.

Inside the usual brown shipping box, I received a black box with a flip-top lid along with a simple plastic zip lock bag, showing the EA logo on the front, containing the cable.

Inside the black box there was a smaller box, sealed in transparent plastic, this time more colourful and with the branding of the IEMs. It may sound silly but it actually took me a while to work out how to open this box. I mean, it’s not that it is difficult to open a box but I didn’t expect it to be opened via a pull tab/wire that runs around the box.

Inside the green box, we get another black box, this time with the logo that you see in the image above. Removing the lid from this box finally presents us with the IEMs sitting inside a cardboard cutout in the centre.

Below the IEMs, in more cardboard cutouts, we find the included accessories. These are a second set of modules (more about that shortly), 3 sets of tips, a small screwdriver and a couple of plastic cards, along with something that also surprised me, a bag of dried flowers instead of the usual silica gel packet.

I actually feel the dried flowers are a nice and original touch, however, the above is all that is included.

Now, I have said many times that I do not complain about the lack of accesories as I prefer the money to be invested in the IEMs themselves rather than a bunch of accessories that I may or may not use, but… when spending 1500€ on a set of IEMs, I do expect a little more than what is included here.

I applaud the lack of plastics used in the packaging and although they could have also used a lot less cardboard (don’t forget that I had to open 4 boxes to get to the IEMs), I don’t really have any complaints about the way these are packed and presented, it is only the lack of contents that I find lacking at this price point.

The reason, according to Effect Audio, that there is no cable included with the IEMs, is that the majority of people will not use the included stock cables and will opt to use an aftermarket cable, so they are cutting down on waste. While I can understand that, and am all for saving the planet by reducing as much waste as possible, I feel that a set of IEMs at this price should be at least usable straight out of the box.

They do state the following on their website: “Please note that every Axiom will not ship with a stock cable. Customers are highly encouraged to reuse whatever they have or may also choose to opt-in to our perpetual Cable Bundle programme.” Their Cable Bundle program does offer a discount on their normal cable prices, however, the cheapest cable they offer to bundle is $291 or in the case of the Cleopatra cable I have received, $599 (reduced from $799), which now puts the IEMs firmly in the 2000€ range.

This is without mentioning the fact that no case is included, only 3 sets of tips in total, and basically nothing that you would expect to find inside a normal set of IEMs at a much lower price point, nevermind 2k.

The Cleopatra cable comes in a zip lock bag as I mentioned. Now I am not certain if this is the actual retail packaging or not, but it would have been nice if they avoided plastic here also and opted for a simple but more elegant cardboard solution.

Build and aesthetics…

Let me start by saying I have absolutely no issues at all with the build quality or aesthetics of the Axiom. The IEMs are built using a combination of Aluminium (shell), Titanium (nozzle) and Natural Stone (face plate). They are well built and although aesthetics are a totally personal choice, I think they look elegant and have no doubt that they look like an expensive set of IEMs.

The shape and size of the IEMs is also nice and comfortable, although I did have some issues with fit. I find the nozzle to be rather short and added to the weight of the Cleopatra cable, I always felt them pulling on my ears and struggled to get them to seal correctly. This was solved by swapping to Xelastec tips, which made them much more comfortable for me and eliminated the seal issues.

They are not extremely light weight but they don’t feel too heavy when wearing them, especially considering the use of natural stone in their build. According to my scales (which I weigh all IEMs on, as can be seen on SoloSpec), they come in at 10.2 grams per IEM, which is not exactly lightweight.

The Cleopatra cable seems to be very well built but is not my personal choice if choosing a cable. I find it to be rather heavy, creating the pull that I just mentioned, and the outer clear cover is not my preferred choice either, I tend to find them a little sticky.

All in all, in regards to build and aesthetics, I feel that a lot of time and effort has been put into them and it shows.

Sound…

Before getting into the usual sound process, let me mention the included modules. The Axiom comes with two sets of modules, one with 2pin connectors and the other with MMCX connectors.

On the Effect Audio website, they state the following: “ The MU (Modular Unit) System stands for our new approach into designing in-ear monitors. Each module houses the connectors and other key electronics within a compact unit. This allows the user to dictate how each Axiom is to be used, rather than the norm of having users adjust to the designs offered by manufacturers.

Stay tuned in the coming days as we strive to unlock additional features with the MU System. ”

Now, here is a comparison of the Axiom using the two different modules. For these measurements I used cables from a different manufacturer because I have two identical cables that just have different connectors, so the Cleopatra cable was not used for this specific graph:

As you can see, there is basically no difference between the two (the minor differences can be due to insertion and fit differences on the rig), which lead me to believe that the only thing that changes are the connectors. I actually reached out to Effect Audio and they did confirm that there will be different modules available soon with different sonic qualities but the two included are in fact only different in the connectors used.

While EA say (in the paragraph above) that we should “ stay tuned ” as they “ strive to unlock additional features with the MU System ”, I can’t help but feel that at the moment they are including a extra set of modules for no reason in each package (I personally would not use the MMCX having the 2Pin version, and I guess it would be vice-versa for others). Would it not be more cost effective to have just one module included, offering the choice of MMCX or 2Pin at purchase, and maybe investing those savings into including a cable? Or a case? Or something?

Anyway, I digress, as usual, so let’s talk about sound.

I have used the Axiom connected to a selection of set ups but most of my listening time has been via the iFi Audio Gryphon, using the single ended output. Although the cable I have received is balanced (2.5mm), I found that I got best results using it on the SE output for reasons that I will mention as we go on.

Starting off from the subbass, there is a fair amount of presence here but as we reach the lowest notes, there is a roll off. This may not be as apparent as it would be if there wasn’t such a large presence of mid bass (which I will get to next), but focusing specifically on subbass, and putting them through the usual test of “Chameleon” by Trentemoller, there isn’t as much rumble down low as there could be, being more focused on the midbass.

Speaking of midbass, I feel that here we have the opposite problem. The midbass is overly present and runs well into the lower mids. They do actually do quite a decent job of staying quite clear and detailed given the presence that they have in these regions, but I can help but notice that they aren’t getting the most out of these frequencies.

Listening to my usual selection of acoustic based music, this additional presence does add warmth to the lower end but it is too much to be considered natural. Listening to things like “Give Me One Reason” or “Crazy”, I found that the low end of the guitars were overly warm and did not seem natural, at least as I am used to hearing them on other set ups. Yes, I know that “natural” for one person is “unnatural” for the next, but all I can do is base my opinion on having heard these tracks hundreds of times on systems ranging from budget IEMs through to higher end planars and speakers (such as Genelec and Meyer Sound set ups).

Things that fall into the more rock side of things, such as Rage Against The Machine or Led Zeppelin, do not come across as being affected as much as the simple tracks that I usually listen to, but I feel that it is more due to the effects being used on the instruments and the fact that other frequencies jump out more, which I will get to in just a second.

The mid range does seem to be a little recessed as we reach the higher end of these frequencies, however, it is not terrible. Vocals can seem to take a little step backwards depending on the presence of the low frequencies but the issue I have found the most is when we start to climb out of the mid range and start entering the higher frequencies.

There is a peak somewhere in this range that makes vocals, especially female vocals, have a harsh sibilance to them that can be quite unpleasant. It is not on every song but it is present on a very large portion of the music that I listen to, along with a large percentage of my test tracks that I use to evaluate IEMs (which you can see here).

I did find that this sibilance was improved (or made worse) depending on the source. In fact, the Axiom does seem to be far more affected by the source than any other IEMs (or headphones) that I have had experience with.

Using the balanced output of the Gryphon, this sibilance was exaggerated quite a bit, making them quite unpleasant to listen to, especially if volume levels are increased (my usual listening levels are quite low). I played around with different sources (Go Blu, BU2, Asgard, Atom, etc.) and found that the sibilance was most kept in check by using the single ended output of the Gryphon while being fed (via USB) from a Shanling M2X. I don’t know why the M2X seems to create less sibilance than when I feed the Gryphon from my PC but that is what I have discovered.

Other than this sibilance, I actually found the treble to be quite smooth, with a roll off in the upper registers that I feel could be improved. It doesn’t come across as dark but this lack of extension is made more apparent by the (excessive?) presence of the mid bass and lower mids. Again, I would not consider these a dark set of IEMs, just a set with a bit too much mid bass and not enough extension in the highs.

As far as soundstage, I find them to be rather good. It is not a soundstage that is huge, in other words it’s not an Arya v2, but it is quite impressive for a set of IEMs. The impression of soundstage is also helped by the fact that the image placement inside said space is also rather good. I had no issue locating and placing instruments, I did not have to strain to be able to separate layers, they just seem to be well laid out and have space between them.

The detail of these IEMs is also good and, although I wasn’t wowed by the details, they do show that the drivers used in these IEMs are of good quality and are very capable of performing very well. I feel that the Helios is more detailed, or at least that is the impression that they give me, but I have no complaints about the details present in the Axiom.

Conclusion…

I have to say that I am very grateful to Effect Audio for sending out these IEMs for me to try as it has been a review that has kept me on my toes. Each step has been something that I wasn’t quite expecting and although there are many things that have left me wanting more, I have found that I enjoyed the experience of reviewing something that is so different to everything else that has come across my desk lately.

Unfortunately, different is not always better. I feel that Effect Audio has had some ideas that are very good but not quite executed as well as they could have been.

The build and aesthetics are great, in my opinion, and I feel that they do give a sensation of a premium product, of which I have absolutely no complaints.

I understand where they are coming from with their idea of not including a cable. Yes, it is probably true that the majority of people dropping 1.5k on an IEM will also purchase a cable of their choice to go with it. However, apart from the fact that I would expect something of this price to be usable straight from the box, I would have also thought that a cable manufacturer would have wanted people to get a taste of how good their cables are by including a decent cable in the box with the hopes that it would lead to them moving up in the chain with the same brand.

The removable module is also a good idea in my opinion, when it gets to the point of offering different modules with different sounds, however, including modules that only change the connection method is not really something I see as a benefit, especially when not including a cable. If someone is going to purchase a separate cable, or reuse the one they already have and love, then they already know what connection type they want and just offering the Axiom in either 2Pin or MMCX as a choice when purchasing would be more than enough (in my opinion of course). Either include two different sounding modules with the same connectors or just include one module, with other modules available separately (even if at a later date), and drop the price, or include a cable for the same price.

The sound is not something that has impressed me too much. I feel that they are a set of IEMs that are quite capable and could be made to sound very good with some slight changes in the tuning (which maybe future modules will bring), but at present they are not something that I would choose based on sound alone, especially not at this price. Again, a different module that changes (fixes?) this would be great, but that will add more to the overall price (unless you get to choose the included module upon purchasing) and would mean I would end up with two modules that I don’t use.

I am sorry if this review comes across as negative, which I am sure it does, but at the price of 1500€ (or >2k€ with the cable), it leaves the door open for a lot of critique and focus on the small things that maybe would not be so apparent at a lower price point.

As I said, I like the fact that Effect Audio are thinking outside the box, it’s refreshing to come across things that are different, I just hope that future modules and models can expand on these ideas and improve the implementation of them.

As always, this review is also available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Tipsy TTROMSO Pine Stone Sea

The Tipsy TTROMSO Pine Stone Sea (more on the name in a second) have been sent to me by Linsoul in exchange for me publishing this review. They have not made any special requests or comments, meaning that I will try my best, as always, to be as impartial and sincere as possible. However, as always, it is good to consider the fact that these IEMs have not cost me anything.

To find the TTROMSO via Linsoul, please visit the version of this review published on my blog to see (non-affiliate) links.

Intro…

Tipsy is a brand of IEMs that I had honestly never heard of until Linsoul reached out to me about them. A brief search does bring back another few models from the brand but I honestly cannot comment on them as I have neither tried them, nor read anything about them. I see this as a positive because the less I know about a product before I listen to it, the less expectations I have, making it easier to avoid any preconceived impressions.

The TTROMSO Pine Stone Sea are priced at 80€ at the time of publishing this review which is not quite extreme budget level but is still at the more affordable end of things.

The name TTROMSO, according to the Linsoul page, is in honour to the town Tromso, located in the north of Norway, which served the brand as inspiration. I am not quite sure how the original town name Tromsø developed the extra T (maybe in translation?) and the addition of “Pine Stone Sea”, which I guess is in reference to the colour, does make for quite a mouthful when referring to them. Therefore, throughout the review, I will refer to the Tipsy TTROMSO Pine Stone Sea, as just “Tromso”.

Presentation…

The presentation of the Tromso is actually quite nice for a set of IEMs in this price range. I know I say that I am all for the budget being spent on IEMs and not packaging, but if the IEMs sound good and the presentation is good, then I am certainly not going to complain.

The box is fairly simple but has a nice cheerful colour scheme, matching the colour of the IEMs. Inside the box, the contents are also adequate for something at this price range.

We get the IEMs themselves, a cable that I am quite fond of, 3 sets of silicone tips, 1 set of foam tips, a storage bag, a microfiber cloth and the typical warrant documentation etc.

Build and aesthetics…

The IEM shells are hand painted and have quite a nice finish to them. Using blue and green as the colour scheme, they do remind me of the colours found in the Northern skies, and reflected onto northern waters, hence the “Pine Stone Sea”.

The shape is smooth, following a usual ergonomic shape, with quite long nozzles. I found that by using the medium silicone tips included, the fit was good and they seal quite deep, resulting in a passive isolation that is superior to usual. I used these on a few flights during this week and had no issues with being able to block out the drone of the engines.

The cable is also quite nice. It is a simple fabric covered cable but uses nice hardware (even though the 2 pin connectors are plastic), feels quite comfortable over the ear and I did not experience any issue with microphonics.

Sound…

(as always, the tracks mentioned in this section are clickable links, allowing you to open the song in the streaming service of your choice)

Starting from the lowest notes, as I always do, there is a little roll off as we get down to the lowest subbass frequencies. While these are not the most powerful of IEMs down in these ranges, they still have enough subbass to fill in the low end well and I didn’t really find my usual “Chameleon” to be lacking. Ok, they are not going to vibrate your eardrums but they are far from anaemic.

Moving into the midbass regions, there is a bit of extra presence here in comparison to my personal preferences, with them running a little over into the lower mids. I can’t go as far as to say that they sound muddy or that there is a lot of bleed into the lower mids, but they do present a sound signature that is not the cleanest in this regard.

Listening to acoustic instruments, such as guitars, basses, etc. This extra presence does give them a bit of extra body and warmth, trading a little clarity and detail for more of a pleasant and relaxed sound.

On tracks like “Free Fallin’”, the timbre of the acoustic guitar is not quite as I would expect it to be but it doesn’t sound bad. The difference in timbre of the acoustic guitar is more like I would expect when listening in different venues. Not that it is wrong, it is just a little different to what I am used to.

Moving into the mids, there is a bit of overlap like I just mentioned, again, it is not something that sounds bad, just a little warmer than one may expect. As we move up towards the higher end of the mids, while there is a little climb, there really isn’t much of a boost until we get to above the 4kHz mark. This does mean that vocals are also a little bit further back than I would like but, once more, they are not bad. The low end, combined with this smoothness around the 3kHz mark, adds to the overall smooth presentation of the IEMs.

As we start to get into the higher ranges, it is easy to notice that treble starts to roll off, however, it doesn’t just fall off a cliff. Personally I would like a little more sensation of air and brilliance up top, but once more, the Tromso is not terrible in this regard, it just continues with it’s overall sound signature.

The soundstage is about average for a set of IEMs, nothing extraordinary but not claustrophobic, with placement of images being fairly decent but without pinpoint accuracy. The details in general are there, they are just subtle and don’t scream “look at all this detail!”.

Conclusion…

I find that the Tipsy TTROMSO Pine Stone Sea, are quite a relaxing set of IEMs. If you are looking for a bright set of IEMs that scream detail at you, then these are not going to fit the bill, however, as a relaxing “enjoy” kind of signature, I find they work quite well.

I find they look good and are comfortable (which are obviously very personal opinions), performing at a level that is decent enough for their price if you are looking for this kind of sound signature.

The included accessories are not out of this world but they are more than adequate for something in this price range, although maybe a case rather than a bag would have been nice. Again, not really something to complain about.

All in all, I find that they are an overall pleasant package, both in sound and quality, that should be a good option for those looking for a smoother overall sound.

As always, this review is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

Tanchjim Ola

The Tanchjim Ola have been sent to me by HifiGo in exchange for the publication of this review. They have not requested anything other than the inclusion of links to the Ola on their site (which you will find below), therefore, my review will be as sincere and unbiased as possible. Having said that, it is still a good idea to consider the fact that it hasn’t cost me anything to test these IEMs.

You can find links to the Tanchjim Ola by visiting the version of this review published on my blog (here).

Intro…

Tanchjim are a brand that do not need any introduction in the world of IEMs. Personally I have only listened to their budget orientated Tanya (which remain a very good option for their price) but was very interested in trying out the Ola when HifiGo reached out to me.

I haven’t actually seen any information or reviews of the Ola as it is a recent release, therefore it is another case where I have been able to avoid any kind of expectations, even though I do expect something decent from Tanchjim.

Presentation…

The presentation of the Tanchjim Ola is certainly impressive for a set of IEMs that costs just over 35€ at the time of writing this review. Inside a white cardboard sleeve showing an anime girl on the front (which also arrived with a separate anime postcard), we get a simple but elegant grey box, sporting the Tanchjim logo.

As far as contents, we receive the IEMs, the cable, 3 sets of silicone tips labelled as “Bass Enhancing”, another 3 sets labelled as “Treble Enhancing”, a storage bag and plenty of documentation.

It may not seem like a lot but it is more than can be expected at the price and everything is well packaged, giving a fairly premium feel for something that costs less than some sets of ear tips.

Build and aesthetics…

The Ola are a bit of a break from the norm, with a shell that is shaped like a teardrop. The outer half of the shell is some kind of aluminium while the inner half is transparent plastic. This actually gives them a nice and clean look while being very lightweight and rather small.

The nozzle is angled forwards and makes these a set of IEMs that are very comfortable when finding the correct fit. I say “finding the correct fit” as I did have issues getting them to seal with the included “Treble Enhancing” tips, as the fit is so shallow. However, with the “Bass Enhancing” tips I find them to be comfortable and after listening to them, I don’t think I would opt for treble enhancement anyway (more on that under sound).

The included cable is not bad but it is not my favourite style of cable. The positive side is that it doesn’t tangle easily and it is not microphonic. The hardware is also metal and of good quality.

In general, I would say that the build quality is good and although aesthetics are very personal, I don’t think that many people will find it offensive at all.

Sound…

Let me start off by saying that the Ola are quite mid focused towards the brighter side of things. I actually enjoy the overall sound signature quite a bit but I have found myself activating the XBass on either the Go Blu or Gryphon for certain songs.

Also, while these IEMs are rather lean on the subbass side of things, I feel that these are a set of IEMs that don’t sound like they measure, at least in the lowest frequencies.

Here is my graph of them compared to my personal preference target:

(all my measurements can be seen and compared on achoreviews.squig.link)

Now, as you can see on the graph, the subbass rolls off a lot and is way below my personal target in this area. However, when listening to the IEMs, I don’t get the impression that the graph gives me. Yes, they are lower on subbass than many other alternatives but they are not completely lacking in subbass like the above measurement would suggest.

Putting them through the usual “Chameleon” test, I find that they are obviously not a wall of low end rumble but they still have enough subbass to appreciate the song, especially if engaging the XBass I mentioned above.

Once we are clear of the subbass, the sound signature quickly conforms to my preferences in the midbass and lower mid zones. I would say that the midbass is right on target for me, enough to give some body to the low ends of guitars and basses, while not coming across as too warm.

Listening to more electronic music, such as “Sun Is Shining”, I feel that the majority of people might like a little more bass presence, the same will probably apply to those who listen to a lot of hip-hop. I did find myself listening to things like “Ambitionz Az A Ridah” with bass boost once again activated.

One thing that is certain is that the bass is very clean and articulate, with absolutely no sign of bleeding into the lower mids. This makes complex bass playing very easy to appreciate, such as “Elephants On Ice Skates” or the fretless playing on “Diamonds on the Soles of her Shoes”.

As we move through the mids, I have absolutely no complaints, everything is clean and nicely balanced. There is nice presence in the upper mids, making vocals sound forwards and again very clean. This is at the expense of some of the more harsh voices coming across as exactly that, harsh.

Moving into the higher frequencies, there is a slight hint of sibilance which can be more or less prominent depending on the recording. Paul Simon, in “Diamonds on the Soles of her Shoes” I already mentioned, was a little too “hot” for me on occasions, as were some of the higher percussion notes on things like “Still D.R.E”.

There seems to be plenty of extension in the higher treble and I have no complaints about the sense of air or clarity. Seriously, my only complaint in these ranges is due to certain songs that coincide with that extra bit of harshness and sibilance, but is it far from being on the majority of music.

Soundstage is around average for a set of IEMs, maybe towards the higher end of average, but I do feel that the space has been well used. The placement of images and layers helps give a bit more of an “open” sensation and while it is by no means spacious, the Ola never feel too closed in.

Conclusion…

As I said at the beginning, I didn’t know anything about the Ola but I did have some expectations from Tanchjim and I feel that they have been met and exceeded at this price range.

Obviously I am going to enjoy something that resembles my preferences more than someone who is more into elevated bass, but even if we just ignore sound for a second, the overall package of the Ola is very impressive for 35€.

As far as sound, I feel that they have come up a little short in subbass quantity and could possibly have even given the midbass a little more presence, in order to meet the preferences of more people. However, while I do find myself using Xbass with some tracks as mentioned, I am a fan of the overall sound of these IEMs. I feel that they are IEMs that allow you to focus on the details of the music and the detail that they achieve at their price point is rather impressive.

Yes, they can be improved upon, just a little more in the lowest notes and make that upper harshness/sibilance go away by just a touch, and it would fit my overall preferences almost to a tea.

In all fairness, I am actually looking for negatives to point out. For the price of these IEMs and what we get in exchange, I really don’t think they deserve any complaints.

As always, this review is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

7Hz Timeless

Intro…

I am currently on a business trip and while I am here, Antdroid (of audiodiscourse.com) has very kindly loaned me multiple sets of IEMs to try out.

First, I must apologize for the lack of photos, and the poor quality of the photo that I have included, but I am stuck in a hotel room with just a cell phone and very limited light etc.

My intention with this “Mini Review” is to share my impressions of the various IEMs after using them for approximately one day only. I usually spend at least a week with an IEM before I create a review, as I find that more time spent can sometimes make certain flaws more obvious or can also make something grow on me. Therefore, please take these “Mini Reviews” for what they are, impressions after using the IEMs for only a brief period of time.

My intention was to first post a Mini Review of the Shouer S12, a set of IEMs that has impressed me quite a bit, however, Shouer have informed me that they have sent me a set to review, which I should have by the time I get back to Spain. Therefore, I am going to wait and post a complete review of the S12, as I feel that they deserve it without doubt.

As I have already tried the S12, a lot of what I am going to mention about the Timeles is in comparison to the S12, which may not make a lot of sense due to the fact that I haven’t posted a review of the S12 yet, but once I get to posting my review of the S12, this mini review will probably make a lot more sense.

Presentation…

As these are on loan, I can’t say that they include all of the packaging and contents. In fact, I know that all contents are not included as there is only one set of tips and I know that these include more, therefore I am not going to really talk about presentation.

I will say that they do include a carry/storage case that is basically a full metal box, which is a few milimeters thick and is way too heavy to use to carry these IEMs around. However, the box is quite impressive and I must give 7Hz bonus points for originality.

Build and aesthetics…

The shape of the Timeless is quite original also, definitely a break from the norm. They are a large circle shape that fits just outside the ear, with a nozzle that is quite long but makes them quite comfortable. Personally I find the S12 more comfortable but the Timeless are not bad in this regard either.

The IEMs are metal and seem to be well built, with no obvious signs of wear, although I don’t know exactly how long Antdroid has had them, nor how much he has used them.

The included cable is a bit basic but uses nice hardware and to be honest, I prefer the lightweight of it over the thicker cable included with the S12.

Sound…

In the subbass department, I find that there is less quantity than with the S12. It is not rolled off enough for me to complain but if given the choice, I would prefer to have a little more presence in this region. I found tracks like “Bury A Friend” enjoyable but would choose to add a little more subbass if possible.

In the midbass range, I must say that I find them to be very similar to the S12 and really don’t have any complaints. The low end of bass guitars and other instruments have enough presence to be enjoyable, at least to me, without being overly done and becoming too warm.

The mids are also very similar throught the lower and middle ranges, however, reaching the higher end of the mids, I find that the Timeless are not quite as forward in the vocals as the S12. I mean, the S12 are not exactly very vocal forward but the Timeless are even less so. Saying that, I cannot say that the vocals are recessed, they are not, they are still present enough for me to not complain, just that the S12 has that little bit more.

I also have no issue with the treble areas of the Timeless. The treble is not quite as smooth as on the S12, which does sometimes make it seem a little more detailed (only on specific songs). The extension and sensation of air is also good, and while it is not as smooth as the treble on the S12, it does seem to extend a little further, or at least that is the impression that it gives me.

The detail I would say is also slightly better on the Timeless in comparison to the S12, although there is very little in it. The S12 seems to be a little more smoothed over in the treble department, which does affect the sensation of detail, but I still think that the Timeless has the edge here.

Conclusion…

This has been a bit of a strange comparison to the S12, a set that I haven’t reviewed yet, but to be honest, they are both excellent IEMs in my opinion. There is very little difference between them as far as sound qualities but I have found myself preferring the overall tuning of the S12. Again, it is very close and it is minor things that only really stand out when comparing them side by side, but I must say I am more of a fan of the S12.

But personal preferences aside, the Timeless are an excellent set of IEMs for their price and I would be more than happy to have them in my collection, probably getting more use than the majority of other IEMs I have.

I think that anyone buying the Timeless is making a very good purchase and will not regret doing so (if they fit their personal preference as far as tuning of course!).

As alaways, this is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

7Hz Eternal

Intro…

Todays mini review is of another set of 7 Hertz IEMs, the 7Hz Eternal.

If you don’t know what these mini reviews are, I suggest you check out the Timeless mini review (here or just read the post above this one ), where I explain why I am doing these mini reviews. Again, I apologize for the lack of photos and the poor quality of the single photo I have included.

I would like to shout out to Antdroid and Audio Discourse once more for sending me these IEMs to try out, it is much appreciated.

Presentation…

All I can say here is the same as I said with the Timeless, I can’t speak about the full presentation as I am not sure exactly what was included.

The box and the contents I have received are the same as with the Timeless, the only thing that has changed is the colour of the packaging (and the colour of the contents).

Build and aesthetics…

Again, these IEMs are almost identical to the Timeless except for the colour and one small aesthetical change. The faceplate of these IEMs is transparent and shows what looks like a driver through the glass (perspex?). However, this is not the actual driver, so it is really only a gimmick and I can’t say that I am overly fond of it.

The colour is a bronze colour instead of the black on the timeless, which I do quite like but I wouldn’t call them spectacular, in fact, I prefer the basic black of the timeless.

Sound…

I actually thought that these IEMs were another set of planar magnetics, an update to the Timeless. While I was listening to these, I was comparing them in my mind to the Timeless and I must say that I am not a fan. However, they are actually a set of dynamic driver IEMs but I am still not a fan.

The subbass is almost identical to the Timeless on paper, however, it sounds like it is less present, due to another part of the tuning that I will get to in just a second. This makes it seem like the subbass is quite rolled off and I found myself wanting far more than was given.

The midbass is the same story, it is almost a clone of the Timeless, yet the Eternal seems to have less to the ear. Again, I found myself wanting more. Yes, the bass boost on the Gryphon can remedy this but in a fair comparison, the Timeless wins and the S12 wins by an even larger margin.

The biggest problem with these IEMs, in my opinion of course, is the huge peak they have at 5kHz. I have said in the past that I seem to be quite sensitive to 5kHz peaks and the Eternal to me just sound harsh and even quite painful on occasions. I must say that I found this part of the frequency to be irritating at best and it really stopped me from enjoying these IEMs.

The details and soundstage I feel are just as good as on the Timeless, however, as I found the overall sound to be irritating, I wasn’t really paying much attention to the detail.

Conclusion…

So far I have tried three sets of IEMs in a row and I have to say that these have been the least enjoyable by a large margin. I found that I had to really make an effort to keep listening to them to make these brief impressions and in the end, I just gave up. I spent around a day with each of the other two sets yet the Eternal only managed to stay in my ears for about a couple of hours and that was enough for me to call it a day.

I’m sorry to say that I have not enjoyed the Eternal at all and would blindly pick either of the other two (or many many other IEMs) before choosing these.

That doesn’t mean everyone will hate them, we all have different tastes, but these are certainly not for me!

As always, this is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

Fiio x Crinacle FHE: Eclipse

Intro…

In the collection of IEMs that Antdroid (from Audio Discourse) sent me to check out, there are a couple of collaborations with Crinacle. The ones I am going to “mini review” (I explained more about these mini reviews in my post of the Timeless, 2 posts above this one or here) today are the Fiio x Crinacle FHE: Eclipse.

This is a hybrid set that uses 1x DD and 2x BA drivers, with the tuning done by (or at least in collaboration with) Crinacle. These are actually also the first set of Fiio IEMs that I have ever tried, so it was interesting to give them a whirl.

Presentation…

As with the other sets, these are on loan so I can’t really be certain about what is actually included in the package. I will say that there is both a Pelican style hard shell storage/transport case, along with a soft case, which is a nice touch.

Build and aesthetics…

The IEMs are a generic shape that works very well for my ears, with a simple but elegant aesthetic and they seem to be very well built. As far as build and aesthetics of the IEMs, I have absolutely no complaints.

The included cable is a good quality cable but is a little bulky for my personal tastes. It is not terrible, I have had much chunkier cables, but I would prefer slightly less weight if possible.

All in all, they are a good set in this regard, my only complaint would be the use of MMCX connectors, something I am not fond of.

Sound…

As mentioned in my other mini-reviews, I have not spent more than a day with these IEMs so I have formed brief impressions but these could change (for better or for worse) if I was to spend a more extended period with them.

Starting with the subbass, I find them to fit my tastes quite well in this regard. There is enough subbass rumble for any of my music selections and it still stays pretty well controlled, giving the low end enough power for me to be happy.

The midbass is a little north of my preferences but I do not find it offensive, I find it fills out the low end well and gives a nice warmth without being overpowering. The low end also avoids bleeding into the lower mids and is generally quite a pleasant listen, which is quite a bit of praise for someone who does not like a lot of bass.

The midrange is pleasant, most of the time. It is a little recessed, with an overall tuning that is quite V shaped, but sometimes there will be certain vocals that appear as quite harsh. This is not really a regular occurrence but on certain tracks, the upper mids will be a little too violent, creating that harshness on certain voices and higher ranges of mid centric instruments. Again, it is not all the time, just certain tracks and artists that seem to clask in their tonality with the tuning of the Eclipse.

The treble I find to be very pleasurable and to have a good extension, with a nice sensation of air and openness for a set of IEMs. The soundstage isn’t huge, they are IEMs, but listening to things like “La Luna”, which is a binaural recording, is very enjoyable.

Conclusion…

I had no idea how much these IEMs cost (I really haven’t taken much notice of Fiio) but after listening to them all day and finding them very easy going and pleasurable, I checked the price. I was very surprised to find that they are around 130€, a price that I feel is very reasonable for what you get,

They are not my favourite IEMs ever, but I have enjoyed listening to them and I think that they are a very valid option for a vast amount of people, offering a better than average sound for a price that is by no means overly inflated.

I must say that I have been pleasantly surprised by the Fiio FHE Eclipse.

This is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

SeeAudio x Crinacle Yume Midnight

Intro…

The last mini review I posted (more about what these mini reviews are included in the Timeless review which is 3 posts up or here) was of the Fiio collaboration with Crinacle, the FHE: Eclipse. Today I am going to give my impressions on the other Crinacle collaboration that Antdroid has kindly loaned me, the SeeAudio Yume Midnight.

This is another set of 1x DD + 2x BA, as with the FHE, with a price that is a little higher than the Fiio option, but still not crazy expensive, coming in at under 200€

Presentation…

Once more, I can’t comment on the whole contents of the Midnight as they are on loan, but I will say that the box is huge, there is a rigid storage case included and what seems to be plenty of anime related stuff.

Build and aesthetics…

The IEMs are a very generic and comfortable shape, at least for me, with shells that are finished in a carbon fibre type style.

I don’t think they are anything special in this regard but they are not offensive and do not stand out from so many other options, except for a logo on one side and the name “midnight” on the other.

The cable is the simplest I have tried so far this week but it is also the lightest, something that I find a plus for my tastes.

Sound…

Starting with subbass, there is quite an elevation, very similar to the FHE Eclipse, which provides plenty of rumble in the lower registers when the track calls for it. In my opinion, the quantity is not excessive and fits my tastes quite well in this regard. I feel that it is enough for most people to be happy unless they are all out bass heads.

As with the Eclipse, the midbass is a little more than I would choose but it is decent and gives a nice warmth to the low end without becoming overly bloated or muddy, keeping the transition into the lower mids fairly clean. It is not something I would consider amazing in the bass range but it is a sound signature that should please most people, however, I do find it to be a little simple in this respect. I don’t find that the bass provides all the details that could be presented.

This is not really a complaint as such, I mean, it does handle the bass well, but when listening to things like Miller, Clarke & Wooten, the three bass guitars do seem to blend together a little, losing some of the separation that I would expect to hear.

The mid range is also similar to the Eclipse, at least until we hit the upper mids. This means that there is a slight recession in the mids, due to the overall V shaped tuning, making some vocals not stand out as much as I am used to on other sets.

The upper mids and lower treble is smoother on the Midnight than on the Eclipse, with less presence around the 3kHz mark, adding to the sensation of the vocals taking a step back. This is not bad but is not my preference as far as the presentation of vocals and mid range instruments are concerned.

The treble has good extension, better than what I am used to with IEMs in these price ranges, and I feel that there is a good sensation of air, however, I again feel that it is a little lacking in the separation of layers, even in these high ranges. Don’t get me wrong, the sound is by no means bad, just not really exciting.

The details are present but as with the bass, they do seem to blend together a little, making it seem a little boring on occasions. This is good for general relaxing and listening to music but if you want to focus on details, then I feel that other sets do it better.

Conclusion…

I don’t really have any complaints about the Midnight, but I am not really thrilled by them either. They are a good set of IEMs, they don’t really do anything wrong. They could be a little more exciting and they could do a better job of separating details, which I feel are there, just that they are not spaced out between themselves, making it a little more difficult to enjoy the nuances of certain instruments.

I feel that this set could make a lot of people very happy but I also feel that the Eclipse is similar enough to suit just as many people and comes in at a lower price. The extension of the treble is better on the Midnight but I think the Eclipse presents details in a better way.

Both sets are good for their price but I don’t feel that the extra cost of the Midnight is worth it over the Eclipse.

Just to not lose the habit, this is available in Spanish both on my blog (here) and YouTube (here)

[SenyorC]

Unique Melody Mest Mk2

Intro…

As we get to the end of the mini review series (to know more about these mini reviews, check out the Timeless mini review, a few posts up or here), did I save the best until last?

Todays mini review is of the Unique Melody Mest 2, a set of IEMs that uses a quadbrid combination of dynamic, balanced armature, EST and bone conduction drivers, coming in (at the time of creating this mini review) at around 1100€.

As these do not come in their original packaging, due to them being kindly loaned to me by Antdroid (of Audio Discourse), I am going to skip the presentation and move straight to the …

Build and aesthetics…

The Mest 2 are a lightweight set of IEMs, using a fairly normal shape with nice smoothed edges and generally a very comfortable result, at least for my personal ear anatomy.

At a simple glance, they are a dark and simple colour with a few gold flecks, however, looking at the closer and in better light, they do have a lot more going on. The left side has the UM logo in silver lettering, while the right side sports the word Mest.

They seem to be very well built and I find them to be pleasant looking although nothing extraordinary, they don’t stand out and scream “look what I have in my ears”.

In general, I have no complaints at all in this department.

Sound…

I am going to get straight to the point and say that I expected more from the Mest 2. Now, they are by no means bad, in fact, they are very good, but I haven’t had any “wow” moments while using them. They are very capable and have a good overall sound to them, I am just not blown away.

Again, let me make it clear that they are not bad and I am certainly not going to complain about their sound (or capabilities), I just do not find them exciting, maybe because I had hyped myself up to expect more, preconceived opinions do that (sometimes for better and sometimes for worse).

In the subbass region, they have plenty of subbass to keep me happy and they are very articulate in the way they present it. Listening to test tracks like my typical “Chameleon” test, there is really nothing I can complain about in the low end.

The midbass is also very good, both in presence and in substance. There is enough to keep me (and probably most people) happy. It is also very controlled, like the subbass, without it seeming to lose control at all and it doesn’t invade the mids. In comparison to the Helios, another 1k set of IEMs that really did impress me, the midbass is possibly the only part that I feel the Mest 2 does a little better, at least in quantity.

The mids are very balanced and although on paper I would have thought that the reduced upper mids would make things sound a little recessed and pushed back, it is not the case, at least to my ears. I was surprised to find that things were smooth yet easily identified and at no time deid I find myself straining to enjoy vocals.

The upper frequencies are well extended, with a nice sensation of air an spaciousness, while still remaining smooth and not presenting any unexpected peaks or harshness.

The details are also good, although not excellent in my opinion. This could be due to the smoothness of the tuning tricking my brain into thinking it is not retrieving as much detail, as there really isn’t anything missing, I haven’t come across any tracks that I found to be lacking in detail in comparison to other IEMs, it is just quite a bit smoother.

Conclusion…

As I said at the beginning of the sound section, the Mest 2 are a very good set of IEMs, maybe even excellent, but they just haven’t wowed me.

There is two possible reasons for this, one is that I was spoiled by the fact that the first >1k IEMs I heard were the Helios, a set of IEMs that really did wow me, and since then things have just been not quite as impressive.

The other option is that I have created a memory of the Helios that is better than they actually were, meaning that even the HElios would possibly be a let down if I were to listen to them again.

The only fair comparison between the Mest 2 and the Helios would be to actually listen to them side by side and compare. However, even though that gives me another excuse to finally purchase a set of Helios (as if I needed more excuses), I will be returning the Mest 2 to its owner and I have no intention of purchasing a set.

I guess all of this is to say that the Mest 2 is great. I have no complaints. I just expected more excitement for 1000€. This is possibly (probably?) not even the fault of the IEMs, rather it is my own brain, but I can only share what I feel. It is also possible, as I have said in my other mini reviews, that spending more time with something will sometimes make me appreciate it and like it more (or sometimes less), so this should be taken as what it is, my personal take on a set of IEMs after only spending a day or two with them.

As this is the last in the series of these mini-reviews, I just want to thank Antdroid once more for loaning me all of these IEMs, and to those of you reading, if you haven’t checked out audiodiscourse.com yet, do it now!!

This is also available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Ikko Opal OH02

After some time away from my review desk and a series of mini reviews, I am finally back to my normal set up and it is time to start making my way through a few things that have piled up while I was away.

The first on the list is the Ikko OH02 Opal, a set of IEMs that has been kindly sent to me by Hifigo in exchange for me publishing this review. As usual, the only request has been that I include links to the IEMs via their website, therefore my review will aim to be as unbiased as possible, although it is always good to consider the fact that these IEMs have not cost me anything.

You can find the (non-affiliate) links to the Opal by visiting the version of this review published on my blog here.

Presentation…

Starting off with how these IEMs arrive, I must say that the packaging and contents are quite impressive and are certainly original, moving away from the usual way in which IEMs in these ranges are usually presented.

The box itself is large and colourful, as you can see in the image above, with a sleeve that has a shaped cutout to allow the artwork to show.

Inside the box we get the IEMs, as is to be expected, placed in a foam cutout that also includes an Ikko branded pin in a combination of gold an black. Personally I have no use for a pin but I always mention unexpected contents and I don’t think I have ever received a pin with a set of IEMs before.

Also in the box we get a cable, which I quite like except for the black covering for the pre moulded ear shape (which detracts from the nice aesthetics of the cable in my opinion) and the fact that they use MMCX connectors. To be honest, the MMCX connectors seem to be of good quality and look like they will last fairly well, but I guess MMCX is just a personal phobia of mine.

Also included is a leather (imitation?) carrying pouch that is also different to any other pouch or case I have received in the past. It is actually more of a pouch that I would use for other things more than IEMs, and is closed by means of a leather string that wraps around the pouch. I can’t say that it is a great solution for IEMs but again, they deserve points for originality.

The last thing to mention as far as contents, other than the documentation that is in a nicely branded envelope, a couple fo replacement filters and a cleaning/MMCX extraction tool, is the amount of tips included. There are a lot. I don’t think that this is the most tips I have ever received but it is certainly the largest selection of uncommon tips I have received. As the nozzles are oval in shape (I’ll mention more about that in a moment), there is also a large selection of oval shaped tips included, with one set that is possibly the largest I have ever seen, along with a selection of hybrid foam/silicone tips. In total there are 9 sets of tips, so there should be something for everyone, well, maybe everyone except me, more on that in the next section.

Build and aesthetics…

As far as build quality, while all plastic (or at least I think they are all plastic), they do seem to be decently made and I see no issues with the build at all.

In terms of aesthetics, in my opinion they are also good looking. The set I have received are a dark green colour, with a small transparent green tinted window that shows a circuit board below. As with the packaging, the aesthetics are original enough to be different but without being so off the wall to look strange.

When it gets to comfort, here I wasn’t quite as lucky, at least with the included tips. As the nozzles are oval, as I mentioned above, they have also included oval shaped tips. In my case, no matter which way I tried to orientate the tips, and no matter which size, I never felt that I could get a proper seal and they never felt overly comfortable. The result with some of the other tips was better but still not something that I enjoyed too much. In the end, I opted for Azla Crystal tips and these solved the issue of seal but I still didn’t find them overly comfortable.

The angle of the nozzle just seems to be a mm or two away from matching my ear anatomy and I always feel like they are putting pressure on the front of my ear canal. I will say that they are very light though, so there is no sense of fatigue from weight, even after long sessions of many hours, just that little issue with the pressing on my canal.

Obviously we all have different ears and this is only an issue for me personally, I imagine that these will be extremely comfortable for most people.

Sound…

As we are back to my normal review format, I will mention that, as with all of my normal reviews, each track mentioned is a clickable link that will allow you to open the song in the streaming service of your choice. The measurement of these IEMs can also be compared with any other IEMs I have reviewed here: https://achoreviews.squig.link

Starting, as usual, from the lowest ranges, the Opal have quite a roll off in the subbass, however, due to a fairly boosted midbass range, they never seem to be lacking in the low end. If isolating the lowest notes, then yes, the roll off is noticeable, but I can’t say that it is something that I notice while listening normally.

Into the midbass, here there is a boost that does make itself the centre of attention in the low end. The mid bass is controlled fairly well and actually works ok for a lot of modern pop music, such as “Get Lucky”, but when moving to more acoustic focused music, I feel that the midbass focus makes it seem a little unnatural. Even with electrical based instruments as the focus but with simple songs, such as “Crazy”, I find that it is a little too present. In the case of this specific song, it causes a sensation of reverb in the midbass of the electric guitar and I can’t say that it sounds very natural.

Moving into the mids, there really isn’t too much bleed due to the fact that the midbass is fairly well controlled, meaning that while it is very present, it doesn’t interfere too much with the mid range. There is a slight dip in the centre of the mids and while the higher midrange doesn’t climb as much as it does on many other set, the vocals stay present for the most part.

I say for the most part as, depending on the instruments in play, the midbass boost can become a little overpowering and make the voices suffer a little to be present on certain tracks. This is something that I experienced on a lot of hip hop, such as “Bang Bang” for example, where that midbass can make the instrumental sound impressive but make the vocals seem to struggle.

One thing I will say is that voices do not come across as harsh, even “Don’t You Worry Child” is quite smooth in the vocal range (a track that I find harsh on a very large selection of IEMs).

Moving into the treble, there is actually quite a decent job done in this area to compensate for that midbass boost and not make the overall sound seem dark. There are occasions on which I find certain tracks to also be a little unnatural in the higher ranges but in general I feel that a good job was done to balance out the highs with the lows without becoming overly harsh in the upper ranges either.

The sensation of air and spaciousness is not bad, considering the low end boost, and while the soundstage is not large, more towards intimate I would say, it still doesn’t seem too cluttered, with things having space to breathe.

Last of all, detail. I don’t think that these can be considered highly detailed IEMs, yet they still manage to give a sensation of everything being in its place. I wouldn’t pick up these IEMs to find small nuances but at the same time, I feel that they can be enjoyed without the sensation of things missing.

Conclusion…

The Ikko Opal OH02 is its own thing. From the packaging, to the aesthetics, to the sound, everything is different to normal but not so different it is “off the wall”.

As far as sound, it’s like an IEM that manages to be V shaped without actually being V shaped. Depending on your choice in music, that midbass boost will either be very impressive or irritating. If you enjoy vocals on hip-hop, or on bass heavy RnB, then that midbass does get in the way. I also feel it can be problematic with some of the simpler vocal/instrument tracks. However, when moving to more modern pop, it can actually be the opposite and work quite well.

At a price of less than 80€, I feel that you are getting a good deal on these IEMs considering everything you get, but the sound signature will not be for everyone. They by no means sound bad, they are just different, and whether that difference is for you, only you can decide.

As always, this review can also be found in Spanish both on my blog (here) and on YouTube (here).

[SenyorC]

Letshuoer S12

These IEMs are a set that I was very interested in trying out and while I was in Miami, Antdroid very kindly loaned them to me. I got to spend a day or so with them, with a very positive first impression, and was about to create a mini review for them when Letshuoer reached out to me, offering to send them to me for review. I was obviously very happy to do a full review of them and a few weeks later, here we are.

Therefore, these IEMs have been sent to me by Letshuoer in order to review them and give my detailed impressions on them. They have not made any specific requests (although I will share a non-affiliate link to them on my blog here) and my review will aim to be, as always, as honest and unbiased as possible, although you should always consider the fact that these IEMs did not cost me anything.

Intro…

There has been quite a surge of planar magnetic IEMs lately, gaining quite a lot of popularity due to them having improved a lot since previous releases. Two of the most popular have proven to be the Timeless and the S12, the set I have here today.

I did get to try out the Timeless while away and published a mini review of them that you can find here. In that mini review, I compared them quite a bit to the S12, as I had tried them side by side for a day or two, and I mentioned that the comparison probably didn’t make much sense due to the fact that I didn’t actually publish the mini review of the S12. I just mentioned above the reason for not publishing the mini review and I am very happy I have got the chance to test these IEMs over a longer period so that I can share more detailed impressions.

I also mentioned in all of the mini reviews (unless I forgot to mention it in any of them) that when I spend a more extended time with a set of IEMs (or headphones), my opinions may change over that period. I may grow used to some of the things I find strange at first and learn to like them more than I do over a short period, but it can also go the other way, I may start noticing things that I didn’t at first and which make the IEMs not as pleasant for me.

In this case, my impressions from the short period I spent with them have not changed much, if anything, I like them even more than I did over the short period I spent with them. I said in the 7Hz Timeless mini review that personally I preferred the S12 (although both are great sets of IEMs) and although I haven’t had a chance to spend a longer period with the Timeless, I still maintain my decision.

Anyway, enough chit chat and let’s get on with the important stuff.

Presentation…

The packaging of the S12 is simple, with a basic white box and an image of the product on the cover. Inside there is nothing out of the ordinary either, but that doesn’t mean that it doesn’t come with everything that a set of IEMs should.

Inside the box we get the IEMs, multiple sets of tips (3x sets of foam in their own hard case and two types of silicone, 3 sets of each type), a nice compact carrying case that is smaller that what is usually included but is still big enough for the S12 to fit without issues, and a cable.

You can choose which cable you would like including when placing an order for the S12 (via the official page), choosing between 3.5mm and 4.4mm terminations, with an option of silver or nebula grey for the IEMs also. In my case, I went for the 4.4mm cable and the cable is of very good quality, although it is a little thick for my personal tastes. While it is not what I would pick personally, the cable has actually grown on me a lot over the past week as far as comfort, and there is no denying it is a great looking cable.

So, everything you need is included in the package, I cannot complain at all in this sense.

Build and aesthetics…

The build quality is good, there are no apparent issues that I can spot, and everything in the package seems well manufactured, including cable, IEMs and tips.

As far as aesthetics, these are quite simple. The shells are fully metal and are finished in a simple, no frills, silver colour (in my case). Obviously aesthetics are just as personal as comfort but they don’t strike me as anything that should offend the vast majority of people.

I just mentioned above that the cable is a great looking cable, so again, I have no complaints.

As far as comfort, I find them very comfortable, fitting my ears perfectly and although I would prefer a slightly lighter weight cable, it has also grown on me (possibly aesthetics taking a part in this). For tips, I had been using Xelastec tips for a lot of my listening time but I decided to try out the spring tips that are included with the Moondrop Chu (review of the Chu coming soon) and I have found that I not only find them to have great sound but to also be extremely comfortable without the hassle of the Xelastecs.

As I just said, comfort is as personal as aesthetics (or even more so), so everyone is going to be different, but I find these more comfortable than the Timeless and also less “attention seeking” with regards to aesthetics.

Sound…

Just a reminder that all tracks mentioned in this section are clickable links that will allow you to open the song in the streaming service of your choice, allowing a direct reference of the song I am talking about.

Here is where I fell in love with the S12. Anyone who has followed my headphone reviews will probably already know that I am a planar magnetic lover, and in the case of IEMs, it seems to be that I am of a similar fashion. I have had the Audeze iSine for quite some time now and I like them, except for the fact that they need a ton of equalisation in order for them to have a decent tuning. The S12 does not have that issue. The tuning out of the box is great, in my opinion of course, and I have found that they are probably the most pleasurable set of IEMs for long listening sessions that I have spent time with so far.

Moving through the usual sound categories, starting with subbass as always, there is no roll off here, at least not that I can hear. Putting the S12 through my usual subbass workout which is “Chameleon”, there is plenty of presence to give me the sub rumble that this track presents, without them seeming to lose control at any point. There are many sets of IEMs that can get that low end rumble with this track but once the subbass starts to mix with the midbass, things can get a little hazy. That is not the case with the S12, they keep things nice and collected, offering a great presentation of this track which is better than the vast majority (almost all, especially at this price) of IEMs that I have tried.

Moving into the midbass, if we look at the graph of the S12 vs my target preference, there is a little more than I request.

(all my IEM measurements can be found and compared on achoreviews.squig.link)

However, targets are just a rough guidance and we shouldn’t get fixated on things adhering to targets too much, as sometimes a deviation can actually sound better, depending on how that is presented and controlled by the IEMs in question.

In the case of the S12, the midbass is extremely well controlled, making things sound precise and clear, even when a track is busy in these areas. Even activating the XBass boost on the Gryphon, where bass becomes overpowering for me personally (depending on the track of course), they still keep control and definition of the notes.

Tracks like “No Sanctuary Here”, which have a strong bass presence but need cleanliness to sound their best, sound clear and, well, great on the S12. More “old school” songs, such as things like “Whole Lotta Love”, benefit quite a bit from the additional presence of the midbass, making the bass guitar of John Paul Jones become a little more present but without it sounding out of balance with the rest. The live performances by Clarke, Miller and Wooten (which is unfortunately not available on streaming services, at least as far as I know) are nicely presented with the separation of the 3 bass guitars being quite easy.

Moving into the mids, there is no bleed, no muddyness, just a nice clean transition. There is also no recess in the mids, keeping them from losing space to the midabass. The slap/pluck of “Elephants on Ice Skates” comes across as well balanced, without it being overpowering in the lower notes and without it losing in the mids to the brass section.

Listening to some of my favourite styles of music, such as acoustic and simple vocal/instrumental tracks, the mids are smooth, without anything sounding harsh or out of place. There is the usual hint of “coldness” that this kind of music can portray on planar magnetic drivers, which may sound a little different if you are used to dynamics but it is something that I have grown to enjoy from infinite hours spent with planar headphones.

A listen to “Diamonds on the Souls of Her Shoes”, which can be a little harsh on the higher mids and lower treble on many sets, still presents a little harshness to Paul Simon’s voice if volume is pushed but in general it is again well balanced and is not painful (unless pushed way above my usual listening levels). “Don’t You Worry Child”, another track that can easily become harsh to my ears, is much better than I expected and is quite listenable.

Hip hop, which is something that can suffer quite a bit in regards to vocals when the midbass is boosted and the higher mids are not overly present to compensate, actually sounds as it should. Or at least it sounds like I expect it to sound after many decades of listening on many speaker set ups and other headphones. As an example, “Make Noise” by Busta Rhymes and Lenny Kravitz, has the vocals quite recessed in the mix, which can either totally disappear or become boosted, depending on the system, seem to have the same presence as I have heard on many monitor and live set ups.

Moving into the treble, there is a nice extension and plenty of “air” to make it thoroughly enjoyable for me. As a sibilance test, using “Code Cool” as usual, there is a slight hint of sibilance on a few of the “S” by Patricia Barber, but certainly not enough to make the track painful or difficult to listen to. This is something that can be the case on many sets of IEMs and headphones, with her voice either being harsh and sibilant, or subdued and pushed back. Again, I would say that the S12 do a great job of keeping it where it should be.

While the detail of these IEMs is very good, I do feel that detrail retrieval may not be the strongest point of the S12. I only listened to the Timeless for a day or so, although I got the possibility to test them side by side with the S12, but I got the feeling that as far as detail retrieval, the Timeless did have the slight edge here. Neither sets are going to compete with something like the Helios (a set of IEMs that is 5 times the price) but both are very good, not just for this price bracket.

At no point do I get the sensation that details are missing, they are all there, just maybe not as apparent as they are on some other sets. Listening to the intro of “All Your Love Turned to Passion”, there are some details in the left channel from the acoustic guitar that can be extremely impressive when a set of headphones presents them well. In the case of the S12, the details are there but they are not something that stand out and make you say “wow”, something that does happen on certain planar magnetic headphones like the higher end Hifimans, but this is obviously not even a comparison that can (or should) be made.

Soundstage is also good for a set of IEMs but without being outstanding. I really don’t find many IEMs to have a large sensation of space in this regard and the S12 are no exception. I would say they are on the higher side of average but not something that give the impression of having a huge amount of space for images to spread out. For example, “La Luna”, which is a binaural recording, does give a nice surrounding sensation but it is slightly closer than on open back headphones (which is again, not a very fair comparison).

The placement of images is very good however, with pretty good precision inside the soundstage that the S12 do have to work with. As I just mentioned, “La Luna” is easily placed around you, and also things like “Strange Fruit” show nice placement of the different layers of vocals.

Conclusion…

Well, I guess I have made it pretty clear that I like the S12, I don’t think there is any doubt about that. When I made the series of mini reviews, I got to spend some time comparing the Timeless and the S12 (I mentioned the comparison quite a bit in the TImeless mini review here), two sets that compete pretty closely with one and another, and I mentioned that I personally preferred the S12, at least after a day or two of use. I also mentioned that more time with a set sometimes makes me like (or dislike) something more and with the S12, I have grown to like it even more, making me very happy to use it as my daily IEM. I obviously haven’t had more time with the Timeless since then, but if I had picked the S12 out of the two based on the time I spent with them both, then I would have absolutely no regrets.

I read Antdroids review of the S12 and he said something that completely clicked with me and that I agree with 100%. I am paraphrasing from memory here but he said something along the lines of “ The S12 are like the Hifiman HE400se, they are maybe not the most detailed option and don’t have the fastest of planar speeds, but there is a decent amount for the price and the tonality makes up for it ” (or something along those lines ). I couldn’t agree more. The HE400se are a set of headphones that I just like, they are by no means the best performing headphones that I have but the overall sound is just pleasurable and is something that I can enjoy for hours of simple music listening. I feel the S12 are the same, I have come to not expect them to surprise me with things I didn’t know existed, but I have no doubt that they always perform well, no matter the track, and are a pleasure to listen to.

I was also surprised to find that they work really well with the iFi Go Blu. Due to expectations, I thought that the Go Blu would not be able to drive these IEMs well, but I was mistaken. Using the balanced output, it performs very well and has become a very portable set up that I am more than happy to use all day while away from my usual set ups, meaning I don’t need to rely on the Gryphon for portable power with these IEMs. I think this is probably more of a praise towards the Go Blu than the S12, however, it is something that has made me very happy.

If I needed to resume this (very long) review into a TLDR, it would be “A set of IEMs that I enjoy immensely and while not the highest performers out there, a perfect solution for my EDC”.

As always, this review can also be found in Spanish both on my blog (here) and YouTube (here)

[ttorbic]

Thanks for the excellent review, as always
I use the S12 at work when I want to block out external sound and listen to EDM or jazz. With Final E tips, I get an excellent seal and very good passive noise isolation.
It’s a great set - good build, good QC, good SQ!